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The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

After 31 years, the Serious Beats compilation era comes to an end. The very last edition, Serious Beats 100, arrives as 3 Vinyl Box Sets (including 5 vinyls per box).

Some of the most legendary club tracks of the past decades have made the cut, and are now bundled into a true collector's item for everyone who's heart is beating to the rhythm of house music.

When British Airways got privatized and listed on the London Stock Exchange, somewhere in Canada the first Starbucks outside of the US opened, and the Walt Disney Company signed an agreement with the French Prime Minister to construct Disneyland Paris. In the sky above southern Argentina, Equatorial Guinea, Cameroon, Sudan, Ethiopia, Djibouti, northern Somalia, and the Atlantic Ocean a hybrid solar eclipse materialized for 7.57 seconds, whilst Margaret Thatcher performed for 45-minutes on Soviet television. Some days later, The Simpsons cartoon first appears as a series of shorts on The Tracey Ullman Show, Diego Maradona wins his first Italian soccer championship with Napoli, and Eighteen-year-old West German pilot Mathias Rust lands a private plane on Red Square in Moscow. In the mists of the world's first conference on artificial life at the Los Alamos National Laboratory, the first Kentucky Fried Chicken restaurant in Mainland China opens in Beijing, and Prozac gets approved for use as an antidepressant in the United States. Much give way for the future, down there in 1987, the year that marks the title of Benedikt Frey’s freshest mini album, out into the world on R.i.O., the label he runs with some pals in the North of Berlin. It’s a dubby melancholic conqueror, wistfully, repetitive, drilling, absorbing, spooking. It makes you dream. Not particular of the year 1987. But it’s all there: The Red Square, the untouched land of the Val d'Europe, Diego on fuego. Six dark-ish tracks in trance, melancholic dub, downbeat heaven, journey music depths, all full of light and yet so dark. Futuristic dramas linked to a speculative past. In our dreams all might look different. The eclipse may last 27- minutes. You meet Neuromancer cyberpunks and blade running Ghost dogs, all taught to hack by Phrack. Cristal clear melodies, sampled voices, and veiled basslines, analogue scopes, and digital ropes, longing for a past that storm into the future. A time where deep listening widens the acoustics into infinity, while neon glows charm the light smog. Benedikt Frey been down there. Or maybe not. His latest music tells stories from the bygone, vested with the forthcoming. Come in and look out. There is nothing to see, yet so much to hear.

• Formed by drummer Bill Curtis in 1970, the Fatback band started off as a funk band although when disco began to break in 1974, they added that four-to-the-floor wrinkle to their sound to serve up some classics. In 1975 Fatback released both their fifth and sixth albums - “Yum Yum” and “Raising Hell” - in the same year. Although singles had been released Stateside as early as 1971, it was not until 1975 that Fatback began to appear on singles here.

• Their third UK 7” – ‘Yum Yum (Gimme Some)’ - got to number 40 in the UK charts in August. Later in November, ‘Are You Ready (Do The Bus Stop)’ got to number 18, which helped propel the “Raising Hell” LP into the top 20. This album also spawned the Top 10 hit ‘Spanish Hustle’ in early 1976. Both “Yum Yum” and “Raising Hell” have been out of print on vinyl for decades. These new editions allow funky Fatback fans to drop the needle and get back into the groove.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies

Ask the members of Borokov Borokov to say something about their new album De Verkeerde Fout (The Wrong Mistake), and they will answer you that it is the best record they have ever made. And then something about sliced white bread or dry shampoo. No, you don't get much wiser when the trio has to interpret or analyze themselves and their unconventional, asymmetrically bouncing synthpop.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies. Maybe these participants do have something (un)sensible to say about De Verkeerde Fout and BB's freaky universe?

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Cyphon Recordings continue their deep dive into the rich heritage of UK and Detroit electronic sounds with their second label release, this time from Danny Was A Drag King label boss DJ Rocca.

Active since the 90s, the Italian producer is a dedicated explorer of the Italo Disco-inspired sounds native to his home. He’s been plotting his sonic journey for decades, making pit stops at labels across Europe including Rekids,Toy Tonics, Slow Motion, Rotten City Records and Roam Recordings. On top of his solo outings, collaboration has played a big role in his production journey to date. He’s worked with artists like Howie B, Jazzanova and Zed Bias, as well as joining forces on ongoing projects with fellow Italian stalwart Daniele Baldelli and Dimitri From Paris, the latter under the name Erodiscotique.

Now back on his solo pursuits for Cyphon, Rocca proves he’s still very much at the top of his game. The four cuts on ‘Code 041’ explore all shades of electro, from raw, old school machine funk to futuristic cosmic sounds. It’s electro done the Rocca way.

The title track sets the tone. An eerie bass line crawls along, providing a bed for reflective pads to glide and mysterious synth sounds and echoing vocal samples to ricochet above. ‘No Gym’ greets us next, bringing that Italo flair Rocca’s mastered so well. It’s the most vibrant track on the release, matching colourful pinging synths and tropical-tinged melodies with a signature driving acid bass line.

On the flip, ‘The Bigger Lake’ takes the EP in a different direction, on a trip through dark glistening pads, tittering percussion and sub aquatic bass before the dusty breaks and moody, jazzy keys of ‘Omega’ bring the release to a close. Mirroring Cyphon’s label ethos, Rocca showcases the best of the past and present of a timeless sound.

Macadam Mambo launches another special LP to end the 2022 season, presenting the debut album of this Belgo-Italian aural freak show called « Sexo Y Fantasia ». A delicious record full of sun by aspect, dreamy, dubby and balearic in the tone, flavored and contrasted with little bits of darkness and tension in the background. As the name suggests it, the sexiness is in every note, the erotic male voice is floating all over it, surfing on waves of endless reverb and delay. Throughout being anchored with clear hints from the 80ties and 90ties, this 35 minutes oeuvre still keeps full modernity in its form. DJ-friendly, it’s also an excellent overall listening experience to enjoy from beginning to end while sipping a fancy cocktail somewhere out in a cosmic dreamland.

Don’t miss this joint, it might be one of the highlights of the year

Being somewhat of a conceptual experiment. All the artists on this album were asked to imagine fusing Acid and House with the Virtualsex LP which was released on Buzz in 1993. A 303 sound would be welcomed but not essential with an emphasis on soulful emotion and melody.

Each record comes with a individual digital download code

Fresh off the back of his highly acclaimed debut album on Astral Black, Footshooter returns to the WOLF Music pack following his ethereal remix of Velour last year, with an exquisite six track journey through his signature sound.

An amalgamation of genres, ideas and vibes blend seamlessly together throughout the record, showing a wealth of knowledge, alongside a production prowess to match. From the cinematic opener 'Welcome In' to the soulful, synth-laden broken beat of ‘Turning’ and 'Archetype 7' on the A side. Samples dance next to magical playing and programming, with hats tipped to legends of yester year whilst keeping things completely fresh at the same time.

Flip it for the B, where UK Funky feels mix with bumping house for the fresh to death, dress to impress 'Dojo'. Footshooter then dips the lights down low and and slows the tempo with the beatsy, piano shimmering brilliance of 'Angel(s)' and the eyes closed, soul healing sounds of 'Hold On'.

Six shots, no misses, Footshooter gets deep into the heart of what’s bubbling in London town right now.

Hailing from Bristol and based in London, Ashley Thomas routinely passes the storied music heritage of both cities through his own singular, prismatic filter. As Otik he produces brilliant and complex hues, forming compositions from weightless neon-tinged trails, richly layered melodic webs and inky, subaqueous bass lines.

The prolific artist recently created his own imprint, Solar Body, to accommodate the expanse and volume of his unfettered productions; now with his !K7 Record debut, Otik deepens his sonic explorations for the label he credits as a crucial discovery portal.

“CRYSTAL CLEAR” is inspired by a personal epiphany, and it shines through with sparkling clarity. With the unmistakable signifiers of dancehall in its bassline and drum programming, Thomas turns these references outwards and upwards, finding a new expression with glistening drops of cosmic colour, gauzy pads, and soft crescendos of cymbals.

Despite coming in hard and fast with a bruising 130BPM bass rhythm “RAINBOW RHYTHM'' evokes a positively disorienting kaleidoscope for Thomas, courtesy of its sugary, euphoric synth sounds. It is a balance of hard and soft, leading heavily with drums throughout, contrasted with the track’s delicate and sweetly warped melody.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

One of the rarest private pressings from the US, originally released in 1972 by this band from Mansfiel, Ohio. Psychedelic hard rock with a charming, homemade feel. Including the monster psych opus "Song Of A Sinner" plus more cool tracks with great guitar/organ interplay.

*Sourced from the original master tapes

*Hard cardboard sleeve + OBI

*Insert with liner notes by band member Steve Geary and photos

*Digital Download Card

"...one of the original legends of the private and local press scene..."
- Patrick Lundborg (Acid Archives)

Tehran-born, Manchester-based artist Parham Ghalamdar provides a suite of raw & candid amateur-performed Persian folk, pop songs and poetry - all pulled from the audio on his parents archive of homemade VHS recordings documenting intimate, joyous & illicit gatherings in turn-of-the-century Iran.

"Beautiful Apparitions is a collection of audio excerpts from digitized VHS tapes recorded by my parents in early-noughties Iran. The footage depicts the secret double lives of Iranians drinking, dancing, and singing to celebrate life when owning a VHS player was illegal in the Islamic Republic. The footage is an amateur performance of pop and folklore songs about love, loss and life. Although many Iranians must have recorded such vivid moments, they are rarely made available publicly. Such tapes would usually have been well hidden, lost, or purposefully destroyed."

— Parham Ghalamdar

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

TONICO 70'S SOULFUL SIDE SHINES THROUGH IN NEW ALBUM CO-PRODUCED WITH PEPPE MAIELLANO (BANDA MAJE)

The cover of the new album by musician, rapper, DJ/producer and Banda Maje's co-founder Tonico 70 features an honest, unfiltered photo his mother took of him with a disposable camera – a photo that is as blunt and sassy as hip hop, but at the same time filled with the sweetness of soul music. The style of Antonico is all there, in that shot of a nine-year-old kid that was just beginning to discover and love music – a passion that, as he says now, "has been driving me for over thirty years."

Coming after many years of songwriting, beatmaking, MCing, live performances and collaborations, this new album, his first released on Four Flies Records, connects the dots between past, present and future, presenting Tonico 70 as a fully-rounded artist rather than just a rapper, and one aware of his own many facets.

Co-produced with Peppe Maiellano, Banda Maje's other founder, Antonico offers an intimate portrait of Tonico 70, who has put his 'tough-music-smuggler' persona aside to let his soulful side shine through, giving us a warm, funk-inspired and very original take on the so-called 'Napoli power' sound.


Lyrically too, the album takes us deeper into his world. Here, Tonico 70 evaluates his personal history, speaking about his joys and disappointments, his highs and lows, and the friends and lovers who are or were in his life.

Sometimes his flow is confidential and nocturnal – in "Vic'l", for instance, where the sound is smooth and sweet, rife with contrapuntal notes and harmonies that are clearly reminiscent of 70s soul, but also in the bluesy rap of "Doppia Chance" and the prayer-like song "For For". Other times he gets bolder and brasher, like in the reggae-inspired in "Quaqquara Qua", or in "The Revolution Will Not Be Telefonin", which is obviously a (cheeky) tribute to Gil Scott Heron.

A number of tracks feature long-time friends and collaborators: rapper Morfuco in "Italia 90" (a funky uptempo song with powerful gospel vocals in the chorus), the Funky Pushertz crew in "Sai Com'è" and, perhaps most importantly, the Salifornian soul-funk collective Banda Maje, who give new life to three songs from the artist's previous discography: "Vir Buon", "Gente Antica" and "Fantasie".

This album shows that Tonico 70 has reached a stage of maturity in his career, one where his music extends beyond rap and hip-hop to incorporate rich instrumentals and multiple genres that carry the echoes of his experiences and encounters in the lively alleys of Salerno's historic district, and of the people whose lives unfold there, in the heart of the Mediterranean.

AN INCREDIBLE LOOKING PICTURE DISC WHICH SOUNDS AS GOOD AS IT LOOKS!

Following up on the runaway success of his recent vinyl album ‘Return of The Hitman’, Marvellous Cain is back again with an eye-catching slice of vinyl adorned with perhaps the most iconic
illustration of Marv that’s ever been created!

The ‘Jungle Funk EP’ comes hot off the press, kickin off with maybe the funkiest drum and bass track of the year? ‘Love Train’ has had so much support since its promo this summer, perfect vibes
on a huge outdoor sound system. Razor sharp drumbeats underpin the soulful melodies which in turn compliment the funky bass guitar riff that are guaranteed to get you in the mood to party!

On hearing ‘Love Train’ for the first time, the insanely talented Brazilian turntable wizard DJ Marky was instantly smitten and offered to add to the release on remix duties!! So of course, we let him!!

DJ Marky seasons the track with favela flavours and adds a speaker shaking bass which will get you bumping, grinding & calling for the reload until the very last bars.

On the flip side of this gorgeous picture disc, Marvellous Cain offers up two more Drum & Bass / Jungle cuts. ‘Buss Ah Blank’ fuses modern dancefloor bass sounds with 70’s soul, a track that has been a favourite with the likes of Nicky Blackmarket, Charlotte Devaney & did serious damage when Marvellous Cain played it at Notting Hill Carnival on the mighty Rampage Soundsystem.

Finally ‘Funky To Night’ comes with a load more bass guitar licks… There’s a reason this is called the ‘Jungle Funk EP’!

All the tracks on this picture disc have receive support in clubs, and on the airwaves from the likes of Rampage & Heartless Crew. Also if you’ve seen Marvellous Cain’s social media pages then you will understand the lengths this man goes to in order to get his music heard… This will be one of the most entertaining promotional campaigns you’ve ever witnessed!!

Inspired by revolutionary efforts against oppressive hegemonies in Detroit, and in Black locales around the world, Memoirs of Hi-Tech Jazz is a sound score evocative of that resistance. It is also a reminder that although violence and injustice looms, it is not the only story: we are much more than what oppresses us. The album celebrates Black leisure and play; the mundane joys that persist in spite of the depleting realities of the world.

Movement, and the very mobility of the car specifically is integral to Memoirs of Hi Tech Jazz. Timed perfectly to match the duration of a round trip drive from Underground Music Academy in the North End, to Detroit’s island park, Belle Isle - the album is undoubtedly best experienced while driving.

That journey signifies the transition from labor to pleasure: from the neighborhood of the Techno Museum in North End to an outdoor park that has long been a destination for Black Detroiters to cookout, park their boats, play spades, and listen to local music.

Memoirs of Hi-Tech Jazz embodies the feeling this place engenders—a reprieve from the midwestern work ethic, and a reminder to ground in the pleasures of your body and the land.

Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently
seeped its way into popular culture. Lovingly restored
and remastered on 180g vinyl with liner notes.^

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in
1984, the track list includes the latter day hit ‘Only You’
and ‘Things Fall Apart’, the melody of which was lifted for
Young Franco’s 2020 single ‘Fallin’ Apart’.

Caution alert! On the volume 3 of the Resurrection series, Simoncino teams up with one the greatest & biggest voice in House Music: the great Robert Owens. The voice behind Mr Fingers and so many other timeless titles. He alone sums up our history, all the greatest tracks that paved the way for our sound & community (yes still though instagram & the self worships) since 40 years. The master sang for Larry Heard but also Frankie Knuckles, Satoshi Tomiie, Photek, Layo & Bushwacka!, Mr. C, Quentin Harris, Marshall Jefferson, Michael Watford, DJ Spen, Gene Hunt, Soul Clap, K' Alexi Shelby, Sandy Riviera and so many others! He is simply the greatest soulful underground vocalist for a generation of househeads. The Italian prodigy simoncino gives us a daunting ep of 6 tracks (!) which navigate between deep techno (that could be a easily played in Berghain) and the purest original house where he excels. Its inimitable style is a clever mix of chicago house tinged with the most classy techno touches. The A side composed of Riccione Part I, Riccione Part II & Masonry is completely dedicated to this kind of techno sound, very pure, very mental and at the same time incredibly funky. It's a total trip. The B side explores the more house influences of the genius of peruggia, notably on All my soul & All My Soul (Riviera Ambient Mix) in direct homage to the italo dream house sound. Pure gold. An absolute marvel. I'll Be Your Friend 4 Ever, Skylax 4 Ever ! Note that on the label's bandcamp, with the purchase of the vinyl, you can get 1 exclusive bonus track : Simoncino "Love Me Forever Or Love Me Not"

Soundway’s telescope to forgotten and lesser known musical realms extends to Argentina on a brand new, triple vinyl compilation, Síntesis Moderna: An Alternative Vision Of Argentinian Music 1980-1990.

A digital rewilding of computer and synth powered music, dripping with an impressive variety of influence, from Italo disco, electro-funk, post punk, tango, ambience, jazz-fusion, Afro-folk and techno pop. The record is a cultural document of a musical decade transformed after the lifting of restrictions of English language music post Falklands War, and the end of Argentina’s military dictatorship.

The French psycho-indie-rock band La Femme announces the release of Teatro Lucido, their new studio album sung entirely in Spanish, released on November 4, 2022. During their time touring in Latin America and Spain, La Femme wrote a Spanish song called "Le Jardin" for their previous album Paradigmes. This track led them down the path toward creating Teatro Lucido, their first full album sung entirely in Spanish. Similar to their previous albums, La Femme wrote, composed, and produced Teatro Lucido themselves, inviting numerous female singers to participate in the process. The album found birth through their adventures in Seville, Grenade, Madrid, Mexico City, Cuautepec, Padul_ where they had so many moments of laughs and joys, tears and disappointment. Teatro Lucido draws from many of La Femme's inspirations including the famous Semana Santa in Spain; pasodoble, reggaeton, Brasilian, and Andalusian rythms; classical guitars, and Movida of the 80's. Teatro Lucido is the name of a mythic theatre where La Femme has played many times in Mexico. It is the first album from a thematic series they have planned called "Collection Odyssée."

Fantasy Life boss Alinka readies ‘Numbers EP’ for Rekids this November. Following releases on Permanent Vacation, NeedWant, and HE.SHE.THEY, Ukraine-born, Chicago-raised and Berlin-based DJ/producer Alinka returns to Radio Slave’s Rekids with ‘Numbers EP’, bringing three tracks of inspired and colourful house tracks for her second release on the imprint.

Leading the release, the title track ‘Numbers’ brings robotic vocals, bright leads, and bouncing basslines together for a sharp and energetic opener. ‘Better Days’ follows with chunky drum machines and dubbed-out chords before ‘80’s Baby’ closes the EP in fine style with soaring leads atop pumping kicks.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that ‘Requiem’, their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced ‘Oh Death’ - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, ‘Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. ‘Oh Death’ is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning.

We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!

The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.

On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!


All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

TAUMEL - the third studio album by the internationally acclaimed brass techno phenomenon MEUTE: Hamburg-based techno marching band MEUTE will release their third studio album: TAUMEL will be out on Friday, 18 November 2022 on the band's own label TUMULT. With their unique blend of hypnotic techno and energetic live performance, the 11-member band has made a globally acclaimed career start.
Tracklisting

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

The second volume of El Búho's "Tributaries" remix compilation series brings together 14 more remixes from UK born producer and remix extraordinaire Robin Perkins aka El Búho. Building on 2018's first volume, the evolution of the producer's sound and influences becomes clear. The album is threaded together by reinterpretations of traditional music in a new electronic-organic context. Be it Galician, Estonian, Colombian, Irish, Garifuna, Reunionnaise or Frenchfolkmusic, El Búho makes his own unique tribute to the originals, bringing them into his owlish universe.

The album mixes club-ready bangers with beautiful and moving interpretations, easily making sense both in your living room or behind the decks. We are treated to a wide delta of influences, styles and sounds, moving between the slow, psychedelic electronic cumbia take on Chadian group Pulo NDJ's Dabadji Am Alcorama across the Atlantic to the upbeat, dancefloor fire remix of Garifuna Collective Ideruni, from an anthemic version of No Más Velorio by Colombia's Plu Con Pla to a refreshing, driving remix of up and coming Reunionnaise producer Eat My Butterfly.

Tributaries offers both a nod to the past, paying tribute to traditions andfolkmusic around the world, and a vision of the future, carving out new channels and directions, transporting the flows of the past into the future.




d 04: Biomigrant - La Muerte (El Búho Remix) feat. Toño García & Fredys Arrieta
[e] 05: Eat My Butterfly - Dann Ton Zié (El Búho Remix) [feat. Sibu Manaï]

[g] 07: The Garifuna Collective - Ideruni (Help) [El Búho Remix]

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

Erinnert sich noch jemand an die Descendents? Hoffentlich! Die kalifornische, 1978 gegründete Punkband war neben Bad Religion prägend für melodischen Hardcore. Zwölf Jahre war es recht still um die Formation gewesen, das letzte Album, "Cool To Be You", erschien bereits 2004. Doch Sendepausen, Auflösungen und Reunions gehören bei den Descendents gewissermaßen zum guten Ton, irgendwie ging"s dann doch immer wieder weiter. So auch jetzt. "Hypercaffium Spazzinate" ist das neunte Studioalbum des Quartetts. Es wurde von Milo Aukerman (Vocals), Stephen Egerton (Gitarre), Karl Alvarez (Bass) und Bill Stevenson (Schlagzeug) eingespielt, und damit der langjährigen, seit 1986 existierenden Besetzung. Und das ist nicht die letzte Kontinuität, mit der die Descendents aufwarten, die 16 neuen Tracks erreichen wie gehabt nur selten die magische Dreiminutengrenze und werden entsprechend vom gleichen unbändigen Energielevel getragen, das die Vier seit eh und je in ihre popgesteuerten Punk-Songs einbringen. Verantwortlich dafür sind "die Kräfte, die sie aus "rejection, food, coffee, girls, fishing, and food" ziehen", wie sie selbst sagen. So einfach ist das. Obwohl die Aufnahmen alles andere als unkompliziert waren und sich über Jahre hinzogen, da alle vier Musiker in einem anderen Bundesstaat leben.

Rastafarianism came to prominence in the late 1960's/ 1970's and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid 1970's most, if not all the top flight singers were following the doctrine and growing their har to dreadlocks.
Everything was truly 'Dread'.
At the heart of this musical explosion was again Bunny 'Striker' Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid 1970's. The visual focal point of this new turn in reggae music would be a call to all things 'Dread'. Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place.
Heavy rhythms were created to match the heavy and serious lyrics and 'Versions Galore' as they say were coming out fast and furious.
We have compiled a set of conscious tunes that not only match the 'Dread' criteria, but also are just great tunes. The great Jacob Miller's 'Zion Gates', Cornell Campbells 'Two Faced Rasta', Horace Andy's 'It's Gonna Be Dread' alongside Linval Thompson's 'Never Conquer Jah'. Two timeless cuts from the 'The Abyssinians' get a fresh outing by two great singers, firstly Don Carlos' cut to 'Satta Massaganna' and the prince of reggae himself, Dennis Brown works 'Declaration of Rights' in fine style. Johnny Clarke's 'Man like Me' and 'Dem Say Rasta' still sound as fresh today as when they were first laid down and Wayne Jarrett's 'Live On Jah' and Frankie Jones 'Satta and Praise Jah' add to this great selection. All great 'Dread' tunes that were cut or voiced at King Tubby's giving them that extra shine.
So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, make you think.........

















Track 14 WICKED BABYLON - LINVAL THOMPSON

Finding beauty, where one wouldn’t suspect it in the first place. Discovering music, where there used to be only sound a moment before. Forming an orchestra out of everyday surrondings, the main thing out of the incidental, the fulfilling momentary situation out of the profane togetherness. All of this is part of the goal, meaning and sense of Oh No Noh, the project of Leipzig based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom.
All of this floats and shines through "Kanzi".

Tape

Finding beauty, where one wouldn’t suspect it in the first place. Discovering music, where there used to be only sound a moment before. Forming an orchestra out of everyday surrondings, the main thing out of the incidental, the fulfilling momentary situation out of the profane togetherness. All of this is part of the goal, meaning and sense of Oh No Noh, the project of Leipzig based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom.
All of this floats and shines through "Kanzi".

Blue Vinyl

The Outer Edge is proud to present the first ever vinyl release of "No Message" by Art P, a still lesser known and lost masterpiece from the P.A.P. archives. Art P (initially Art Programming) was an electronic music duo consisting of Jens-Markus Wegener and Frank Grotelüschen. On "No Message", originally released in 1985, we hear the band's most profound work, a detailed and unique mixture in between of Electro and the synth-laden edge of New Wave.

We initially discovered Art P on the tape compilation "berlincassette 2-85" a couple of years ago. Their contribution, the title track from their second and last album "No Message", blew us right away: punchy drum machines, heavy synths and cool female vocals delivering a serious, yet slightly ironic view on the meaninglessness in pop music having "no message". A couple of months later, when we finally were lucky to get hold of an original full length tape, we couldn't ask for more: powerful apocalyptic Synth Wave on "A Place To Fear", thrilling vocoder Electro Funk on "Polaroid", uptempo New Wave Synth Pop on "Sounds of the City", dreamy and melodic Electro on "Without Jackets", and other well produced tracks. It was an absolute necessity for us to get in touch with Art P and ask for permission to re-release their music on vinyl.

"No Message" was remastered from the absolute best original tape source and sounds incredibly well. The release is limited to 300 copies and will be pressed on blue vinyl. It contains an insert with lyrics and additional art. We think it is save to say, that this should not be missed!

As a side note it should be mentioned that Wegener later became a key figure in the German music market. He was the founder of companies such as Public Propaganda, Europe's largest and most successful promotion agency in the mid '90s, the publishing company AMV, the distributor PP Sales Forces, among others. As a freelance promoter for SPV and the PIAS label he was also responsible for establishing the term Electronic Body Music as a musical genre. Grotelüschen was active as a music journalist (e.g. for Spex magazine) and later became an important and well known journalist for science.

The sound company operating under the project name "Noiseshaper" is poised to release a very special vinyl album into record shops worldwide. The band received great acclaim for their first albums, which were released on the legendary and famous Rockers Hifi label Different Drummer. They later became celebrated for their musical contribution to the US television series CSI - Miami ! The Viennese coffeetable boys Axel Hirn und Florian Fleischmann achieved cult status with their 12-inch single "The Only Redeemer", which was later released in the US by Quango (Island Records /Palm Pictures) and fast became a permanent fixture on the playlists of the best and most popular DJs in Berlin, Vienna, Tokyo, Paris, London and New York. The next dancefloor filler followed with "All A Dem A Do", sung by Juggla, which was the band"s first release to get heavy rotation on many European and US radio stations. Next up were remixes by and for heavyweights such as Sly & Robbie, Outkast, Seven Dub and Carl Douglas. Noiseshaper"s defining sound has been distilled and condensed an utterly distinctive blend of "housey downbeats with a fat reggae flavour" has brought the Noiseshapers international acclaim and popularity. The very special VINYL release is the essential of what NOISESHAPER has ever done all over the years with a special focus on HEAVY bass remixes by Adrian Sherwood & Paolo Baldini. It is another very impressive display of how a musical style has progressed. Dub as a style with all its reference points between commerce and innovation ! 8 pounding dub flavour tunes all are best for bringing the dancefloors of the dub universe to boiling point. Heavy bass for heavy dancing!

A new compilation titled Erased Tapes _+ù_¦ö, encompassing a two hour cross-section of the label"s 15-year history including hidden gems and previously unreleased material, will be available on November 4 to coincide with specially curated festivals in London and Berlin. The first offering comes from UK producer Kevin Richard Martin aka The Bug and Japanese voice artist Hatis Noit who share their paranormal first collaborative cut After the Storm amongst other unique pairings such as The Art Ensemble of Chicago featuring Moor Mother, Bell Orchestre interpreted by Colin Stetson, Douglas Dare joined by The London Contemporary Orchestra and Ben Lukas Boysen remixed by Kiasmos. Premiered exclusively via The Wire magazine in form of a free download ahead of their debut live performance at Le Guess Who? Festival 2019 in Utrecht, the track is now finally made available on vinyl and streaming platforms alongside other previously unreleased pieces from electronic producer Ryan Lee West aka Rival Consoles and Icelandic composer Högni. "As a solo vocalist and voice artist, I"d always dreamed of floating and being drowned in a beautiful sonic storm. And then I met Kevin Martin" - Hatis Noit The artwork is composed of the Japanese kanji for "15" - calligraphed by label founder Robert Raths and designed by Munich-based artist Bernd Kuchenbeiser.

Genre : Pop / Cinema / French Chanson. "De l'amour mais quelle drôle d'idée" is definitely the music album of an actress. Result of her collaboration with the french composer & singer Léonard Lasry who composed and produced entirely this album, it features 10 songs specially created to be performed as cinéma scenes on pop melodies with luxury arrangements. The poetry of the lyrics written by Elisa Point talks about intimacy with tenderness, melancholy with at some points several sarcastic touches. The album ends by "Via Condotti" performed as a duet with Léonard Lasry, already released last spring, and been the starting point of this surprising and enchanting album. Tracklist : 1. Magnifique N'est-Ce Pas 2. Ne Fais Pas Attention À Mon Amour 3. Non Je Ne Vois Pas Qui Vous Êtes 4. Je Ne Suis Pas Celle Que Tu Crois 5. De L'amour Mais Quelle Drôle D'idée 6. C'est Écrit Là Dans Nos Yeux 7. Roulette Russe 8. Assez Voyagé 9. Qui Vous Envoie ? 10. Via Condotti

True concept albums are actually few and far between. While it can be said that The Who’s Tommy and Quadrophenia, or Pink Floyd’s The Wall were designed from the ground up, that’s not necessarily the case for equally mythical, yet composite, albums such as Bowie’s The Rise And Fall of Ziggy Stardust…, or Lou Reed’s Berlin. In France, the genre established its pedigree in the 1970s with Serge Gainsbourg, then in the early 1980s with Léo Ferré. Cri d'amour by Mélanie Chédeville adds to this list of albums that tell a story through characters.

Cri d'amour was produced in a seaside setting, which may explain its flowing, organic character. It is all by herself that the violinist-by-training composed, wrote and arranged this collection of string-drenched songs that recall Jean-Claude Vannier’s work for Serge Gainsbourg. The latter would undoubtedly have been impressed by Mélanie’s fine-cut lyrics and melodies that are as raw as they are sophisticated, vocalized in a sprechgesang recalling his own. The deliberately retro palette, up to the bass sound so typical of 1960s English rock, betrays an artist indebted to the creator of Bonnie & Clyde and Initials B.B. through a sensual, clear tonality. Yet, polyrhythms borrowed from the late afro-beat legend Tony Allen, and the touches of guitar, piano, percussion and synthesizers distilled here and there by Éric and Mélanie, end up giving the whole affair a resolutely atemporal color.

Mélanie was sixteen with a head full of Beethoven and Brahms when she succumbed to an unexpected fascination for the world of Éric, a pianist, composer and sound engineer, who regularly delivered scores for Marc Dorcel’s X-rated films. She evokes him in L'Alpha-bêta and Le Pornographe, through whispered choruses that would suit the late Julee Cruise or Vanessa Daou to a tee, and explicit allusions to a “sword of Damocles” of “XXL” dimensions.

These are not the only texts on this album that remind us of the Franco-American author Anaïn Nin’s erotic poems, a model that Mélanie willingly takes on, adding to the list of her literary influences alongside Apollinaire and his Debauched Hospodar:

Some may find this album old-fashioned, which, far from being a flaw, is a credit to the fine musician that Mélanie is. Others will call it a charming album, which is not a bad way to describe it, provided that it is a powerfully relentless charm.

On the album Opening, Tord Gustavsen reveals a fresh angle to his
particularly unique trio investigations into Scandinavian folk hymns,
gospel, chorale and jazz, as he introduces a different voice on bass
With a new fellow- traveller on board and its recording premiere in Lugano's
Auditorio Stelio Molo, the trio discovers inspired new ways to interact with each
other, using innovative approaches to sound and technique in the process. Made
up in equal parts of intricately textured improvisations and understated melodic
hooks, the group's conversations bring an enticing unfamiliarity to the language
the Norwegian pianist has developed over almost two decades of collaboration
with ECM.
Tord Gustavsen: piano, electronics
Steinar Raknes: double bass, electronics
Jarle Vespestad: drums
Press:
"Vibrates between the introspective and the dramatic in rich and singular ways.
Scene-setting opener 'The Circle' sees Gustavsen exploring a modal melodic line
of beguiling simplicity, with the trio's sotto voce approach creating an atmosphere
of hushed intimacy." - **** Jazzwise (Editor's Choice)
"The focus of Opening remains the playing from Gustavsen and the rich
accompaniment from his fellow musicians, creating an atmosphere perfect for a
walk by a cabin at dawn, with the sun peeking in through the trees." - Pitchfork
"Norwegian piano star Tord Gustavsen's long-honed recipe of low-key folk songs,
gospel, classical music and jazz gets a graceful makeover on Opening - with new
bassist Steinar Raknes, a player of uncannily responsive precision alongside
regular percussionist Jarle Vespestad, while subtle electronics sometimes create
ghostly horn-player effects." - The Guardian
"For Gustavsen, pieces such as Floytelat and Vaer Sterk, Min Sjel are routes into
the sort of cerebral mysteries that the former church pianist has made his own.
The first is a funereal theme where the notes he sprinkles like raindrops build into
a fatalistic flood. The second, from the Norwegian Hymnal, is played with an
innocent simplicity. Both are equally powerful...Remarkable music, Norwegian
blues." - The Times
"Quietly beguiling release...With lesser artists the uniformity of mood and
reluctance to turn up the volume would pall. But there's an artistry to Gustavsen's
compositions, a skill in their execution, and a warmth to their spirit that keeps the
listener engaged." - LondonJazz News

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

A fascinating Japanese Ambient Techno excursion finally reissued.
Takayuki Shiraishi is no stranger to Camisole Records. With projects like BGM, MLD (CAM022) or Tristan Disco (CAM023) he is considered as one of the most prominent figures of underground Japanese music.

Following those 80's industrial projects he continued his path and recorded numerous electronic tracks without forgetting his experimental roots.
After an EP on the highly revered label Apollo with his alias "Planetoid", he released on a very limited run his first album "Photon" only on cd in 1997.
Mixing Techno and Ambient, those works were recorded between 1987 and 1996 to create a trancey ride of dreamy tunes.
A journey through spectral dances and afterglows, dreamy incantations and Solar rituals devoted to euphoria.
Experimental techno who never forget to keep your mind and body aware.
We are really proud to give this album the attention it deserves with a Double Vinyl LP reissue remastered by Krikor Kouchian. 5

Bill Nace"s Through a Room represents a seismic progression from Both, his startling 2020 debut solo LP for Drag City. Nace"s career has been defined by a relentless probing of ways to frame the complex menu of human emotions, and that the guitar has been his primary tool for exploring this terrain is of little consequence. On this new release, he also employs tapes, hurdy gurdy, doughnut pipe, quelle est belle, as well as his latest instrument of choice, taishogoto. This is also, ultimately, insignificant. What matters is the discerning spirit which animates his work. The tracks are carefully built from loops and phrases that talk to each other, subsume one another, overlapping and crashing and diving and expanding and emerging into unimagined vistas. On the whole, the record offers a fascinating and engrossing chronicle - a sequence of interrelated stories told by a temporally dislodged narrator. You think you"re here, then you"re there, and then you go through trapdoors and along tunnels, into cellars and secret rooms, and you find that actually you"re back where you started. But it"s not hard to follow. Trust me. Nothing this enticing can be hard to follow. The record was recorded and edited in Philadelphia during the uncertain summer of 2021 with engineer and co-producer Cooper Crain. Where Both was a chiseling down of spontaneous live performance, Through a Room, while obviously the work of the same artist, treats its sounds as building blocks, combining them to mesmerizing effect. What"s striking is the poise, the degree of authorial intensity. The false dichotomy of composition and improvisation is thoroughly and rightfully abolished. Bill"s interests range from post-punk to post-industrial to hip-hop to free jazz to avant-garde composition, and every area between such unhelpful labels. From the inscrutable, evocative track titles to the enticingly baffling cover art by his longtime compatriot Daniel Higgs, Nace is guided by an ineffable, internal muse, a persistently personal stormcloud of ideas that, ultimately, comprise that thing we call art. Here"s the real deal. - Matt Krefting, Holyoke, 2022

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo FJAAK.
One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and
Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin- Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with FJAAK. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists.
As one half of FJAAK Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials.
The same ethos and love for culture fuels the DJ Piper project. No matter if it’s FJAAK or DJ Piper, techno or hiphop… Integrity is key!

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

20th Anniversary Edition of the Grammy Award Winning album by the King of Rock ‘n’ Soul - the great Solomon Burke. Newly mastered and includes the bonus track “I Need A Holiday”. The newly packaged
booklet includes exclusive photos from the recording session and new liner notes.

Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery.

Clear Vinyl

th Anniversary Edition of the Grammy Award Winning album by the King of Rock ‘n’ Soul - the great Solomon Burke. Newly mastered and includes the bonus track “I Need A Holiday”. The newly packaged
booklet includes exclusive photos from the recording session and new liner notes.

Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery.

Since 2018, BBE Music has been leading the field in reissuing rare modern jazz from Japan’s golden period spanning the late 60s to the early 80s. The J Jazz Masterclass Series continues to present the finest in Japanese jazz with Planets by Masaru Imada Trio + 1. Originally released in 1977 as a private press album, Planets showcases the refined playing and sophisticated compositions of one of Japan’s leading pianists, Masaru Imada. In a fifty-plus year career he has released over 40 albums, including several that have won awards from some of Japan’s leading music publications and has recorded with leading US jazz artists such as David Sanborn, Brecker Brothers, Steve Gadd, and Grover Washington Jr. Imada’s Bosendorfer piano is joined by the drums of Tetsujiro Obara and the bass of Kunimitsu Inaba, augmented by Yuji Imamura on percussion. The opening title track on Planets (featured on J Jazz vol 3) is a wafer-thin modal waltz, beginning with gentle bells and shells, followed by Obara’s deft brush work and Inaba’s hypnotically pliant bass that gives a discrete yet steady support to the gossamer melody from Imada-san’s piano. The other standout track is the suite, Sea's Pasture, an epic piece that undulates and heaves, like the dark endless ocean, rich with mystery and each side of the album ends with a solo piece on the haunting Bosendorfer. Planets comes with full reproduction of the original artwork with obi strip, extra photos, a translation of the original sleeve note and a 3000 word new sleeve note by Tony Higgins including an interview with Masaru Imada himself. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

"M4 is a tune that I wrote back in 2017 when I was living in Bristol. At the time I was really into writing melodic pieces and messing around with as many synths as possible. I decided to add some heavy bass to this one cinematic organ progression and laid down some basic drums over the top and called it a day really. I think I sent it out to a couple people (one being Mala) and forgot about it.

Another few years went by and the tune has changed a bit to stay in line with my current production style arriving at the version that's set to be released. Abacus was just an all out bass experiment that I never thought would see the light of day and Dusty really shows off the more melodic style of my productions. After hearing these tunes played on big systems for so long I'm really happy that everyone can now finally get their hands on a copy."

ALXZNDR 2022
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This performance by Waylon Jennings was no April Fool's joke - This was the "new" Waylon, both personally and professionally - He had kicked a 20-year drug habit, split with RCA and signed a new deal with MCA Records - He discovered a passion for songwriting, teamed with
legendary producer Jimmy Bowen, and produced some of the best work of his 30-year-plus career

He credited his wife and soul mate, Jessie Colter, for much of his inspiration. This was Waylon's second trip to the ACL stage, but the one that best captures the raw edge and driving urgency that pushed country music way past its
Nashville boundaries starting in the mid-1970's. He was described as the leader
of the country "Outlaw" movement, which he often dismissed as just another
marketing scam, but there's no denying that he turned the music on its head and
took it way beyond its rural southern roots. This West Texas boy who worked as a
DJ and started his own band at 14, then later played with Buddy Holly, left an
indelible mark on the music he loved. He was a class act, this man called Hoss --
Terry Lickona (Producer Austin City Limits).

“Who Do You Love The Most?” is the young trio’s third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album’s 10 songs are all Mulelid originals, except for a gripping cover of Judee Sill’s The Archetypical Man. Two of the originals are the trio’s versions of songs that first appeared on the pianist’s much lauded solo piano album (“Piano”) from last year. Kjetil André Mulelid (31) comes across as an exceptionally mature pianist and composer. The trio’s 2017 debut “Not Nearly Enough To Buy A House” received wide international acclaim, with writers most typically mentioning Keith Jarrett and Bill Evans. The praise continued for 2019’s follow-up “What You Thought Was Home”, with the Jazz Journal giving it a 5/5 rating and calling it “some of the most captivating music I´ve heard in quite some while”. All About Jazz noted the maturity of the work, feeling like coming from three well-seasoned pros. Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. Later he did a bachelor degree in jazz performance at NTNU in Trondheim, blessed with top teachers such as Erling Aksdal, Vigleik Storaas and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge (33) has been making waves on the Norwegian jazz scene lately, with his quintet’s debut album "Hegge" winning a Norwegian Grammy. He has his own trio as well, with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo (Moskus). In 2019 he released "Ideas" with Axel Dörner, Rudi Mahall, Håvard Wiik and Hans Hulbækmo. Andreas Skår Winther (30) is, like the other two, a "product" of the fertile milieu at the Trondheim Conservatory of Music. His discography includes "Left Exit, Mr. K" with Michael Duch & Klaus Holm (Clean Feed) and Megalodon Collective (Gigafon). Tracklist 1. Paul 2. Endless 3. The Road 4. Remembering 5. Point Of View 6. The Archetypal Man 7. For You I’ll Do Anything 8. Imagine Your Front Door 9. Gospel 10. Morning Song

Fleeting configurations of piano, wind, strings, synthetics, and field recordings, inspired by the Greek isles.
Previous albums adored by the likes of The Quietus, Exclaim, Drowned In Sound, etc.
For fans of Angelo Badalamenti & David Lynch soundtracks, Bohren & Der Club Of Gore, and Global Communication.
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as “a moment of focus”—a specific vision for the sprawl of raw recordings she’d been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the “reductive process” of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections: glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to No5 as “almost like a first album.”
Drawing on sessions staged in February 2020, Vantzou’s editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as “one who joins things” is here both plumbed and proven; Vantzou describes No5 as “a letting go,” a place of “soft borders,” unfixed and undefinable.

Orange Street, Kingston, Jamaica the epicentre of the Reggae world.
Where all the record shops, studios, pressing plants were based.
The new cut 45’s would be taken to the shops after a testing on various Sound Systems around the people and passed to the record shop proprietors to sell.
Bunny Lee as a former record plugger and now a leading producer knew what the people wanted and a great ear for a hit tune.
This collection carries some of the stand out tracks from this period, when music was finding a new beat as Rocksteady rolled into the late 60’s early 70’s Reggae Sound.
The Ravers ‘Mati and Fulli’ telling the story that the ‘Rent too High’ to The Twinkle Brothers ‘Miss Laba Laba’ …you see and blind you must hear and deaf…clean up your own backyard before talking about others.
All stories of daily life and love songs told over a cracking rhythm played by finest musicians on the island.
So yes ‘Some A Holla Some A Bawl’ as Max Romeo would say but it can’t be denied that all the tunes on this selection are of a fine pedigree….
So sit back and Enjoy the Ride…………..

Mondo, in conjunction with Troll Court / WaterTower Music, is proud to present the premiere vinyl pressing of the latest mix-tape masterpiece curated by writer/director James Gunn ... the soundtrack for his superhero action-adventure film THE SUICIDE SQUAD

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

Tim Bernardes, a Latin Grammy nominated singer, songwriter, musician, composer, and producer from Sao Paulo, Brazil, has captivated global audiences with his delicate balance between sounds seeped in Brazilian tradition and contemporary indie and folk that is deeply warm, intimate, emotionally resonant and healing. He's collaborated with the likes of Fleet Foxes, Tom Zé, David Byrne, Gal Costa, Devendra Banhart, Shintaro Sakamoto, and more. Mil Coisas Invisíveis is his second solo album, following his 2017 debut Recomeçar. The album was written primarily while touring with his acclaimed tropicalia-indie group O Terno, and heading into 2020, which is when he decided to step back from touring and focus on new songs. What emerged was an album that is generous and intimate - a series of meditations on metaphysical transformation in the face of grave uncertainty. "I hope to one day be a tenth as good at singing and making songs as Tim Bernardes is." _ Robin Pecknold, Fleet Foxes "A marvel of tuning, dynamics control, refinement, instrumental execution and freedom in the elegance of using the stage" _ Caetano Veloso "Bernardes' voice is truly next level." _ Aquarium Drunkard

EERIE WANDA ist das Projekt der niederländisch-kroatischen Musikerin Marina Tadic, die mit ,Internal Radio" ihr drittes Album veröffentlicht. Die bildende Künstlerin und Musikerin wird auf dem neuen Album von ihrem Partner Adam Harding (DUMB NUMBERS, KIDBUG) und der Produzenten-Legende Kramer (GALAXIE 500, UNREST, WEEN, DANIEL JOHNSTON) unterstützt. Auf diesen elf Songs wird deutlich, dass Tadic zu der Künstlerin wird, die sie gerne sein möchte und nebenbei noch einige Dämonen austreibt: ,This album is different than anything else I've made. I think I have entered a new chapter. Hope you enjoy." Während ihre früheren Alben eher auf beschwingten, gitarrenbetonten Indie-Pop ausgerichtet waren, klingt ,Internal Radio" wie eine experimentellere, jenseitige, ernsthafte, erwachsene Angelegenheit, die sich in sensibles, emotionales Terrain wagt. Die intimen, persönlichen Songs spiegeln die Einsamkeit wider, die viele von uns in den letzten Jahren empfunden haben, und erinnern an Künstler wie LIDA HUSIK und EDITH FROST.

Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. "DRIFT" is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre's past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, "DRIFT" draws on the raw energy inherent to `60s / `70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift?

orange vinyl

As &on&on, DJ's Noni and Worth Way have been making some serious waves over the past year, being named one of DJ Mag top artists to check out in 2022 and also featured on Disclosure's DJ Kicks compilation.

On their first release on the label, the duo boast their prowess in composing uplifting, melodic dance music which draws on myriad influences to create unique and innovative sounds. Whilst every track on Mentalphysics has fun and festivity at its core, some take their inspiration from disco ('Mid Valley'), whilst others from groovy deep house ('All Day') or breakbeat ('Delta T'). Finally, 'Melted' subtly evokes speed garage in the way the bass dips, giving the track lots of depth and 'Samo' brings things to an anthemic close with reverberating cymbals filling any space with body and movement.

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

LAVENDER Coloured Vinyl. Recommended If You Like: Cocteau Twins, Julee Cruise, Antena, Young Marble Giants, The Pastels, Mazzy Star, Norma Tanega. A cinematic ocean of sound. EERIE WANDA's Marina Tadic draws you into her inner worlds on these 11 new songs produced by Kramer (Galaxie 500, Unrest, Ween, Daniel Johnston.). On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic's songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project's guitar pop past for a more experimental, other worldly, serious grown-up affair that ventures into sensitive, motional territory. "Pet Town is delightfully airy; a set of songs that have drifted in on a breeze from some strange and foreign landscape you won't find on any map.” Gold Flake Paint // “Tadic’s melody here is part of that Brian Wilson lineage … she sets those notes adrift with a casually graceful minimalism… It evokes a pleasant stroll through a city at the moment when night begins to fall on a daydream.” Stereogum // Tracks: 1 Sail To The Silver Sun 2 NOWx1000 3 Long Time 4 On Heaven 5 Confess 6 Nightwalk 7 Someone's In My House 8 Sister Take My Hand 9 Birds Aren't Real 10 Puzzled 11 Bon Voyage

12” Blue Single sided vinyl in a full art sleeve.

After releasing on Elevate Records in 2017, 'Tour' has gone on to become one of the most streamed, talked about, and recognisable tracks that the drum and bass scene has ever seen. A euphoric and instantly recognisable dancefloor smasher in every sense of the term, Macky Gee's biggest track to date is still as relevant today as it was when it first took the drum and bass scene by storm. 

From the moment it was released, ‘Tour’ dominated every single drum and bass forum and online space for years to come, cementing itself as the most notable and memorable drum and bass release in recent memory. 

Exclusively released on vinyl for the first time ever this is one of the hottest drops of the year!

Pink Vinyl

Molly Lewis's compositions seem to float into our ears from distant shores. They're otherworldly, drawn more from landscapes of dream than from anywhere you could find on a map. Lewis is a unique presence in music today. Her trademark whistle, which brings to mind the great Peruvian soprano Yma Sumac, has graced recordings of everything from Schumann lieder and Brazilian jazz to Spaghetti Western ballads and noir lounge. Lewis's collaborations are diverse: La Femme, Sébastien Tellier and Dr. Dre. She's performed around the globe, at Shanghai's Yuz Museum, the Cannes Film Festival, Mexico City's Salón Los Angeles, and across the whole of New Zealand. Lewis's 2021 debut EP, The Forgotten Edge, was produced by Tom Brenneck (Charles Bradley, Amy Winehouse). It was a critical success, drawing praise from The New York Times and NPR, and landing Lewis a spot on CBS Sunday Morning. Now, Lewis and Brenneck have teamed up again for her second EP, Mirage, bringing aboard Brazilian guitarist Rogê, as well as percussionist Gibi Dos Santos and keyboardist Roger Manning. Capacious and atmospheric, Mirage is Lewis's most hypnotic effort yet. Like Eden's Island (1970) by eden ahbez_whose "Nature Boy" is covered in one of Mirage's standout moments_the album is based on Lewis's visions of an imaginary island. The lush, oceanic textures of Mirage transport us to the sands of an unknown beach_all alone or in the company we've always dreamt of keeping.

Auf ihrem vierten Album 'Urfader' fügen Grimner dem Folk-Metal den Metal hinzu. Ihre Wurzeln und Einflüsse aus dem schwedischen Death Metal und ihre Liebe zum Heavy und Power Metal verweben sie mit bezaubernden Folk-Melodien und heidnischen Chören, um einmal mehr ihren einzigartigen Sound zu kreieren - wie immer in ihrer Muttersprache Schwedisch gesungen. Der knackige und frische neue Sound dieses Albums lässt einen erkennen, worum es bei Grimner geht. Thrashige Gitarrenriffs, eine Mischung aus kraftvollem cleanem und harschem Gesang, stampfende Drums, gemischt mit schönen und ausgeprägten Flöten und anderen Folkinstrumenten sorgen für eine Atmosphäre, die zu den Geschichten der alten nordischen Götter und der Folklore gleichermaßen passt.

Mit "ELVIS Original Motion Picture Soundtrack" veröffentlicht RCA Records in diesem Sommer den Soundtrack zum neuen Baz Luhrmann-Film "ELVIS", der am 24. Juni in die Kinos kommt und Austin Butler sowie Tom Hanks in den Hauptrollen zeigt. "ELVIS" ist ein absolut episches Leinwandspektakel des visionären Filmemachers Baz Luhrmann, das das Leben und die Musik von Elvis Presley (Austin Butler) und vor allem seine komplizierte Beziehung zu seinem rätselhaften Manager, Colonel Tom Parker (Tom Hanks), beleuchtet. Der Soundtrack zeigt das außergewöhnliche Werk von Elvis aus den 1950er, 60er und 70er Jahren und würdigt gleichzeitig seine vielfältigen musikalischen Einflüsse sowie anhaltende Wirkung auf populäre Künstler von heute. Neben Musik von Elvis Presley, befinden sich Original-Soundtrack-Recordings von Austin Butler auf der CD als auch neue Reimagined Tracks von Künstlern wie Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White uvm. Avec "ELVIS Original Motion Picture Soundtrack", RCA Records publie cet été la bande originale du nouveau film de Baz Luhrmann "ELVIS", qui sortira le 24 juin dans les salles et mettra en scène Austin Butler et Tom Hanks dans les rôles principaux. "ELVIS" est un spectacle à l'écran absolument épique du cinéaste visionnaire Baz Luhrmann, qui met en lumière la vie et la musique d'Elvis Presley (Austin Butler) et surtout sa relation compliquée avec son énigmatique manager, le colonel Tom Parker (Tom Hanks). La bande-son met en lumière l'oeuvre exceptionnelle d'Elvis dans les années 1950, 60 et 70, tout en rendant hommage à ses multiples influences musicales et à son impact durable sur les artistes populaires d'aujourd'hui. Outre la musique d'Elvis Presley, le CD contient des enregistrements originaux de la bande originale par Austin Butler ainsi que de nouveaux morceaux réimaginés par des artistes tels que Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White et bien d'autres.

Sacred Bones has curated an LP of original Ya Ho Wa 13 and Father Yod and the Spirit of '76 (the musical projects of the Brotherhood of the Source) music from their rich and prolific recording history. For those not familiar, Ya Ho Wa 13, formed in 1973, are regarded as one of the most extreme, groundbreaking and influential psychedelic rock bands in history. The band released nine super rare LPs (and are rumored to have recorded 60 LPs worth) full of deep spiritual wisdom, tribal drums and distorted guitars, some of which were completely unrehearsed jam sessions, others which contained more conventional rock songs. Most were recorded after hours of meditation at 3:00-6:00 a.m. in a soundproofed garage that served as the musicians' studio at the family's communal residence. All of the records with Father Yod's participation were completely improvised, with no rehearsals or overdubs and feature him on lead vocals and percussion, via a kettle drum. Most of their original music was pressed in small runs and are highly sought after collector's items. Sacred Bones are super excited to have listened through hours and hours of this transformative music to bring you what they think is an absolutely essential compilation of some of their best songs.

Meltdown was the fourth smash hit album from Ash. The album again reached No.5 within the UK and has since become a gold record. The hard rock album contains mega hits including Clones, Orpheus, Starcrossed, Renegade Cavalcade and Meltdown.

Ash and BMG are proud to reissue Ash’s fourth LP ‘Meltdown for the first time on Orange and Black splatter vinyl. This album has not been re-issued since it’s 2004 release, so will be an exciting prospect within the Ash community. Meltdown contains hit after hit and with its hard rock sound resonates strongly with a wide audience. Upon release Ash drew critical acclaim from multiple publications including Pitchfork, The Guardian, Drowned In Sound and many more, whilst touring with allusive contemporaries The Darkness, and headlining Coachella Festival.

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Jetzt auch als Deluxe 3LP im violetten Vinyl erhältlich, dieses Format wird die orange-farbene Deluxe 3LP Edition in der Zukunft ersetzen! Das Belfaster Duo Bicep veröffentlichten ihr zweites Werk 'Isles' bereits Ende Januar 2021 und das Album chartete auf Platz 8 in den deutschen Albumcharts!

Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln. Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.

Formate:

- Purple Dreifachvinyl (140g) im hochwertigen Gatefold Sleeve inklusive Downloadcode inkl. 3 Bonustracks

"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.

In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair").

Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk.

In the recording of Pelo de Rata Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces.

The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Da Buze Bruvaz and Lord Beatjitzu come together for a truly hard hitting, no holds barred, HipHop grudge match with the tough as nails BoLO Yeung Barbarian Bicepz EP. The long-time collaborators, known for dropping at a prolific pace individually, found time to combine and give their prospective audiences a true gift. Expect nothing but explosive neck-snapping beats and hard-body drunken rhyming.

This is truly a companion piece for the Lord Beatjitzu produced Bruce Li in Japan LP. Here we find Da Buze Bruvaz Him LO and Clever One, deconstructing a few of those tracks while also bringing heat to some exclusive gems from the vaults of the reclusive production wizard. You may want to take a few steps back before entering drunken dragon styles presented on this one.

Bruce Li meets Da Buze Bruvaz and every track contained within qualifies as a lethal weapon! Protect your Necks, Arms, Heads and Chests! PLAY on 45 rpm!