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

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

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

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

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

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

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

Big Yawn - NGB

Research Records welcomes back Melbourne quartet Big Yawn for their fourth full-length offering, "NGBE."

Big Yawn's ability to blend complex rhythm sections with infectious basslines, deep synth work, and tongue-in-cheek sampling remains ever-present, and perhaps is the most advanced we've heard yet.

Sitting in a world of its own, the album—named after the group's beloved and lost warehouse space, National Gallery of Brunswick East (where most of the material was recorded)—features a wide array of soundscapes spanning mutated drum 'n' bass, low-key grime, rap, and dub-wise antics, all laced with a heavy dose of FX.

Equal parts deep and menacing, the nine tracks encapsulate Big Yawn's evolution in the studio and on stage, most notably through their collaboration '2Stroke' with Melbourne-based future rap prodigy Teether and brought to life visually with album artwork by Julian Hocking.

In anticipation of Gitkin's upcoming album in October, Wonderwheel drops a cheeky little 7" with two Latin covers from the man himself. The A-Side finds an instrumental Cumbia cover of the eternal 80s classic by The Human League. Leading with the guitar for the verses, the song chugs along nicely with a faithful interpretation of the original with Simon Moushabeck's accordion leading the chorus. On the flip, Gitkin covers Peru's infamous Grupo Celeste's 1975 classic "Mi Lamento" with friend and collaborator Gabe Case on vocals. Keeping with the Tropical Andean sound of the original, Gitkin's funky, wah wah guitars drive the track set over uptempo, cumbia inspired drums while Case's melodic vocals float on top. Two fun, happy tunes to light up dancefloors this summer!

Experimental black metal from Brooklyn featuring members of Pyrrhon, Krallice, Sigur Rós, The Glen Branca Ensemble, Steve Reich. Recorded by Colin Marston (Dysrhythmia, Krallice, Liturgy). Follow-up to the bands well received 2022 debut Aveilut. The Promise Of Rain, the sophomore album of the experimental black metal band Scarcity, is an embodiment of the hard-to-believe truth that burdens are easier to bear when distributed, a realization Brendon Randall-Myers (conductor of the Glenn Branca Ensemble) grappled with extensively while writing this record. This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: one doesn’t have to go through everything alone. When Scarcity’s debut album Aveilut was written in early 2020, Randall-Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise Of Rain. The Promise Of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise Of Rain in one or two takes, capturing the physical effort and urgency of a live performance. Scarcity forges a completely fresh sound in The Promise Of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise Of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation—” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album.

Recorded in Japan during a tour in 1970. Featuring famous French musicians Eddie Louiss on organ and Daniel Humair on drums. A classy trio album with Louiss’ superb Hammond organ play front and center and a glimmering of the Caribbean dancing in the shadows.

Upon first listen to “Flies the Fields”, one may note the varying colors the band displays, from groove, to urgency, to subtle menace. This is a group making music that breathes and moves, lurches and crawls. “… a unified set of shadows, isolated hurt laid out in fine rainy day garage-demo psychedelia

“Valsadeira” is a pulsing uptempo excursion from the African island nation of Cabo Verde, with driving percussion, impassioned vocals, and tasty synth work. Sung in Portuguese, the track begins on a romantic note which builds toward a dramatic flip halfway through that gives way to a hypnotic tropical vamp. The drum tool extends the rhythmic breaks of the song into a useful standalone percussion jam. Odo Kakra Sika Kakra is a bouncy and joyous slice of Ghanaian highlife. With crisp 90s-era production and sweet vocal melodies, JKriv edited this one with love for maximum booty shaking and smiles. "Batonga" is a mid tempo slice of Afrofunk with a mid 1980s downtown NYC feel, led by angular and funky guitars, layered synths, and a female vocal with African chants. The drum break features a textured beat including big electronic drums, percussions and an interlocking kalimba line.

Alex Stein is the latest artist to step up for his debut Drumcode EP, following a stellar contribution to A-Sides Vol.12. The Lisbon-based Brazilian artist has been a lock for stunning techno production stretching back over 10 years, with quality drops on labels including Terminal M and Tronic. Last year he tightened his relationship with the DC crew, playing Drumcode events at Uebel & Gefahrlich in Hamburg and the Blue Tree Songkran festival in Thailand, before a release debut on A-Sides Vol.12 with the excellent ‘Hydra’. Few could disagree: his debut EP on Adam Beyer’s label feels richly deserved. ‘The Chant’ EP is a powerful triumvirate of cuts. The title track is a transcendental gem, led by a rousing vocal and psy elements, without losing any dancefloor punch. ‘Rush’ begins life as a rugged slice of techno, before a dark melodic underbelly finds its laser-kissed feet and propels the track into peak-time territory. ‘Tantra’ takes the baton, with a foot in pummelling bass-driven techno and goa-trance alike, elevated by an evocative vocal.

Warehouse Find!

Avision storms into 2020 in fine fashion with his first EP for Maceo Plex's Ellum Audio label.

Playing the decks since just 12 years of age, this American artist grew up in the musically rich New York City scene and is now at the sharp end of it with his own new school techno sound. He has released on key labels like Ben Sims’ Hardgroove, Mark Broom’s Beardman and Teksupport, and is someone that icons like Adam Beyer and Chris Liebing often reach for in their own sets.

He starts off his latest offering with 'Innocence', a bustling techno track with bulky drum programming that is brilliantly loose. It jostles you into action as dark vocals add intensity and makes for a perfectly physical dance floor workout.

Keeping up the pressure is 'Time Lapse', with big hi hats and a driving bassline all interwoven with thundering kick drums that will get the whole club up on its toes. A rising synth in the background adds an air of cosmic exploration and means this tasteful techno trip is enthralling from start to finish.

These are two superbly stylish and high powered techno cuts from this contemporary tastemaker.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

Following in the form of his last outing on Baroque Sunburst, the Italian percussive virtuoso delivers three wholly uncategorizable, tripped out drum workouts. Both frentic and hypnotic, these rhythms roll and snap into jagged grooves that leave dark basement dance-floor walls imprinted with the stains of psychic and somatic revelry.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

1983 Post-Punk/Reggae masterpiece from Khartomb becomes the eighth release on Jason Boardman's indispensable BiD label !
A Balearic secret weapon now available for aficionados everywhere !
Synkro & Talking Drums deliver outstanding reworks too - ESSENTIAL !!

Repress!

Far Out Recordings Proudly Presents The 1975 Self-titled Debut Album From Brazilian Vocalist And Bossa Nova Luminary Emilio Santiago. Nicknamed 'the Nat King Cole Of Brazil', Santiago Was A Master Bossa Balladeer And A Top-class Crooner. But He Is Known Equally For His Brazilian Funk, Soul And Boogie Classics. One Of His Best Know Is Album Opener 'bananeira', A Party-starting Version Of The Song Originally Written By Joao Donato And Gilberto Gil. 'brother' Is A Smooth-grooving Killer With Great Horn Arrangements And A Huge Backing Choir, While 'la Mulata' Is A Soulful, Swinging Salsa Stepper.
Originally Released On The Cid Label, The Album Showcases The Full Range Of Emilio's Talents, While Paying Homage To Some Of Brazil's Greatest Composers, Including Jorge Ben, Marcos And Sergio Valle And Ivan Lins Among Others.
The Credits On The Album Are A 'who's Who' Of Brazil's Greats, With João Donato On Keys, Wilson Das Neves, Ivan 'mamão' Conti And Paulinho On Drums, Durval Ferreira, Carlos Roberto Rocha And Helio Delmiro On Guitar, Ariovaldo, Orlandivo, And Chacal On Percussion, Danilo Caymmi On Flute, A Brass Section Featuring Victor Assis Brasil, Edson Maciel And Jesse Sadoc, And Backing Vocals From Jaime And Nair, Lúcia Lins, Jurema And Marcio Lott.

YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain-body music.

Its two 15-minute vinyl sides are cut from a 60-minute live set at Cafe OTO, London on Friday 8th October, 2021 also available as digital download. This was the fourth meeting of the trio followed, instead of being followed by*, an RPBoo DJ set.

Each time the trio play it pushes further into new technical, emotional and creative space. The collaboration needs ears, instruments, imaginations and bodies to be used in new ways. This need is transformative. Together they – and we – learn. This unique trio combination is rooted in deep conceptual foundations, that push into real and imaginary spaces of innovation and learning in a creative practice of 'interruption' far beyond genres or what is supposed to be. And what emerges each time is a trio technology - a total dance technology for any and all bodies.

Kavain, Paul and Seymour share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While Kavain’s pioneering footwork work develops the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long-term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM through their unique prism of club, dance, free-jazz and improvised club structures, technologies and musics.

The LP was expertly mixed by Billy Steiger and mastered by Amir Shoat. Every purchase comes with a bonus download of the full, unedited live set from Cafe OTO.

The album includes artwork by Benedict Drew and text by Edward George.

40 Years ago, Hunting Lodge was nearing the peak of its fertile 'tribal' period. In celebration of this anniversary we are releasing a book-style 3LP set including Nomad Souls, 'Tribal Warning Shot' (expanded) and The Harvest (live/expanded). All of the included tracks have been lovingly remastered from the original reels and cassettes, restored by Grant Richardson and mastered for vinyl by Sion Orgon. The Nomad Souls LP was originally released in the autumn of 1984 on S/M Operations in the USA, and in the following spring on Side Effekts Records, UK. The 'Tribal Warning Shot' 12” 4-track EP was released early 1985 on S/M Operations (USA). The title track was remixed with drums added for a 12” 45 release on Normal Records (Germany) soon thereafter. This version, along with the other three EP tracks appear on the second record in the set. A new remix of the 1983 7” 'Night From Night' b/w 'Untitled' is also included, along with 2 tracks that appeared on compilation albums and one previously unreleased track. To round off this LP we launch into a track from original The Harvest live cassette, to ease you into the album to come. The Harvest cassette was a collection of live Hunting Lodge tracks circa 1984 which has never appeared on LP until now. To make for a more cohesive theme we have separated the two LP sides by shows: Side A from Chicago, where the original 'Tribal Warning Shot (live)' was recorded, while the other side features a Detroit show which bears the distinction of being the only time Roselle Williams (The Wolf Hour) sang live with the band. Each side features one song that was NOT included on the original The Harvest release This set features a replica of the original S/M Operations' Nomad Souls cover, and of the original Normal Records 12” art on the second LP. The third sleeve features a newly designed back cover by Rolaid Alpo Cola, and an inner panel including the original promo poster artwork along with an essay from Graeme Revell.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

White w/ Red Splatter Vinyl. For their third album As You Please, Citizen is looking inward. Pairing up again with longtime producer Will Yip, the band presents twelve songs that fuse aspects of their entire catalog into one neoteric whole. While the cathartic melancholy of their debut Youth and the jarring intensity of 2015's Everybody is Going to Heaven are both present, the most welcome addition to Citizen's arsenal on As You Please is the range of auxiliary instrumentation and sonic experimentation on the album. This is most notable on "In the Middle of it All," where vocalist Mat Kerekes is sampled singing the song title in a modulated, haunting chorus that echoes throughout the song. The addition of organs and unconventional drum effects on songs like "You Are A Star" and "Medicine" create shifting emphases on tension and frailty, while the huge choruses of songs like opener "Jet" and "I Forgive No One" are reminders that while Citizen dove headfirst into uncharted territory with their new album, the band is still as good as ever at writing emotionally-charged anthems. As You Please presents Citizen's vision at the most focused it has ever been - it is delicately crafted to provoke at every moment.

2024 Reissue

Rare, spiritual and groovy, this is the ultimate live album, the pinnacle of the spiritual jazz scene! Detroit's proud drummer Roy Brooks' epic blackness is back!

Hardcore craftsman artist and drummer, who began his career in the 50s and remained at the forefront of the scene until his death in 2005, starting with the Horace Silver Combo in the early 60s and continuing with bands such as Stanley Turrentine, Youssef Latief and Charles Mingus. Roy Brooks. The drummer, who also played on Detroit's Wenden Harrison albums and was part of Max Roach's renowned M'boom project, recorded this live performance in NYC in November 1973 under the name The Artistic Truth, a group he led in the early '70s. Recorded live in NYC in November 1973 under the name of The Artistic Truth, this album easily surpasses the Baystate release in terms of quality and density. The band featured Reggie Workman (b), Olu Dara (tp), Joe Bonner (p), Cecil Bridgewater (tp), Sonny Fortune (as) and other prominent black musicians, with Eddie Jefferson joining on vocals on two tracks. This is a live document of five songs and 48 minutes of spiritual soul, packed with the raw, unrelenting groove of spiritual jazz from this era

Reissue of Annette Peacock and Paul Bley's "Dual Unity" album, originally released in 1972 on Freedom Records. Hailed as a pioneer and artistic genius by many, this album captures Peacock in her element alongside husband, Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970, during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog's earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. A statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Guests musicians: Han Bennink (drums) on "M.J." and "Gargantuan Encounter", Mario Pavone (bass) and Laurence Cook (drums) on "Richter Scale" and "Dual Unity".

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

1982 erschien in Eigenregie die LP „Revival“ von Winterhawk.
Der ausufernde Hardrock mit Heavy Metal-Tendenzen und
vielen zweistimmigen Gitarrensoli fand einst nur im Raum
Chicago Verbreitung, doch irgendwann wurden Sammler auf
die Platte aufmerksam. Das rief 1998 das Label Monster
Records auf den Plan, die sich zeitweise auf amerikanischen
Hardrock und Heavy Metal zwischen Ende der Siebziger und
Anfang der Achtziger spezialisert haben. Recht schnell waren
Winterhawk in der Szene ein Name.

Die Sensation war aber erst perfekt, als sich die Möglichkeit
ergab, eine frühe Liveaufnahme von 1978 zu überarbeiten
und ebenso auf CD zu veröffentlichen. Mit bestechender
Klangqualität legt „There And Back Again“ sogar noch
eine Schippe drauf. Die Spielfreude ist nicht mit Worten
zu beschreiben und allein die zweistimmigen Gitarrensoli
müssten einen Grammy gewinnen. Dabei erinnert man immer
wieder an die Frühphase von Rush („Rusch“, „Fly By Night“),
während man

For its next outing, the Nebraska label has curated a mini best-of EP that serves up a quartet of tunes that have been digital only until now. Side A opens with 'Senza Parole,' featuring a weird and wonderful vocal sound and some loose hand claps under Italo-infused disco-funk drums. 'Let Me Be The One' is a nice tripped pout and slow motion 90s downtempo jam and 'Funkbraska' is an homage to French Touch with filtered synth loops fizzing with sugar goodness over a characterful bassline, and last of all is 'Love + Hate', another low slung hose groove that oozes cool and has a fantastic bassline propping it up.

In 2006, the slight buzz of a Brooklyn band called El Michels Affair started to sound a bit more like a swarm of killer bees when their instrumental rendition of Wu-Tang Clan’s “C.R.E.A.M.” was released as a 7” vinyl single. The band’s namesake Leon Michels and his production partner Jeff Silverman dropped the single on their boutique label called Truth & Soul, and it created such commotion that it would spawn an entire album of Wu-based covers. In honor of the 15th anniversary of that LP— “Enter The 37th Chamber”—the single is now getting its first vinyl repress in years.

“C.R.E.A.M.” is featured on Side A, with its prominent guitars and powerful horns complementing the signature baseline and unforgettable piano hook that practically defined an era of New York hip hop. The B-side “Glaciers of Ice” offers a deeper, melancholic interpretation of the hard-driving “Cuban Linx” banger, with a mood consistent to the A-side, as the drums take a comfortable backseat to the melodic guitars and punchy horn lines.

Originally released in 2009, El Michels Affair’s “Enter The 37th Chamber” LP on Fat Beats Records is celebrating its 15th Anniversary in 2024.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


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Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

Als Schüler des Mambo-Erfinders Perez Prado war der gebürtige Kubaner Modesto Duran eine Schlüsselfigur in der Übergangszeit der lateinamerikanischen Tanzmusik in der Mitte des 20. Jahrhunderts. Seine sanften Slaps kann man auf Dutzenden von Mega-Sellern der 1950er Jahre, von Esquivel bis Belafonte, Eartha Ktit bis Lena Horne. Auf seinem 1960er Solodebüt versammelt Duran ein Who's Who der Conga-Männer, einschließlich Mongo Santamaria, Willie Bobo und Juan Cheda, und liefert eine cineastische und perkussive Melange aus Afrokubanischem, Cha Cha und exotischen Jazz-Stilen für den anspruchsvollen Hörer.

Als Schüler des Mambo-Erfinders Perez Prado war der gebürtige Kubaner Modesto Duran eine Schlüsselfigur in der Übergangszeit der lateinamerikanischen Tanzmusik in der Mitte des 20. Jahrhunderts. Seine sanften Slaps kann man auf Dutzenden von Mega-Sellern der 1950er Jahre, von Esquivel bis Belafonte, Eartha Ktit bis Lena Horne. Auf seinem 1960er Solodebüt versammelt Duran ein Who's Who der Conga-Männer, einschließlich Mongo Santamaria, Willie Bobo und Juan Cheda, und liefert eine cineastische und perkussive Melange aus Afrokubanischem, Cha Cha und exotischen Jazz-Stilen für den anspruchsvollen Hörer.

Pierced Arrow's first record! Fred And Toody Cole's post Dead Moon band with Legendary rocker Kelly Haliburton on drums. Most musicians get softer with age, but Fred and Toody brought a harder edge to Pierced Arrow's than their earlier bands. A legendary record back in print for the first time since it initially came out in 2008. A killer!

For the 20th Pleasure Club release we are very happy to present an EP from two core members of the Pleasure Club family - Johnny Hunter & Remi Mazet.

The "Passing Through Fyah EP" comes via the connected mind of both artists, with a record which spans and blurs the realms of house, techno and electro. Characterised by dubwise basslines, cosmic synth work and expert drum programming, this one feels like the perfect way for us to celebrate the two zero milestone.

A big shout out to everyone who has supported the label until now. We really appreciate it <3

White/Blue Marble Reissue!

BAFTA winning Icelandic composer, musician and producer Ólafur Arnalds’ fourth solo studio album, re:member, was originally released by Mercury KX on the 24th August 2018. Released on special marble vinyl for the first time. The album uses the Stratus Pianos as well as string quatet, synths, electronics, live drums and a string orchestra recorded at London’s Air Studios. Plummeting the listener into a subversive world full of unexpected moods and emotions, Ólafur explored foreign musical soundscapes in every facet of re:member.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Limited edition 300 only cyan coloured vinyl LP, housed in a reverse board sleeve with hype sticker, polylined inner bag and download code. Non-Returnable.
Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift.
Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano - both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done.
‘Vertigo’, is all claustrophobic, dense and disorientating - like Sun Ra sitting in with Exploding Star Orchestra
John Hubner (Complex Distractions) on ‘Vertigo’
“An expansive collection of free-flowing sound and mood bringing to mind Coltrane (John and Alice) as well as the great Albert Ayler, while touching on the forward thinking compositions of Rob Mazurek's Exploding Star Orchestra.
From the titanic soundscape of "New Worlds On Earth" to the Marc Moulin touches of "Liquid Voices" and the mysterious eccentricities of "Swimming", 'Vertigo' hangs in the air long after the final note plays.”

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

George Adams (1940-1992) was a passionate tenor-saxophonist who always had his own intense sound and personal approach to playing jazz. Paradise Space Shuttle is his third album as the sole leader and includes the set standard ""Send In The Clowns"", ""Metamorphosis"", a tribute to Charlus Mingus, and the album opener ""Intentions"". The line-up for these recordings included Ron Burton on piano, Don Pate on bass, Al Foster on drums and Azzedin Weston on percussion. Paradise Space Shuttle includes newly written liner notes by music journalist Scott Yanow.

This album was recorded in Philadelphia in 1977 by Rare Feelings, a band led by Rick Mason, who was fully involved as songwriter, arranger, and producer while also supporting the band's groove as bassist. This is a superb example of one of the few soul and funk hard diggers that every hard digger has wished to have and has been lucky enough to acquire, and it is a masterpiece that is numbing not only in its sound but also in its vintage-inspired artwork! Rick Mason's bass roars, the organ and horns fold in and out, and a faintly haunting vocal (?) enters, blended with an exquisite psychedelic feel. The opening track "Rare Feelings" (A1) blends exquisite psychedelic sensation with slap bass, swirling intro, raging horns and organ, and then suddenly changes the tone to mid-tempo with the intertwining of bewitching vocals again. The song suddenly changes to a mid-tempo and leads to "Dope" (A2) with its bewitching vocals, a sound that is worthy of being called rare groove! The instrumental number "Metamorphosis Funk" (B2), which features not only bass and organ, but also continuous drum fill-in, fast cutting guitar and solo, and flute lead, is sure to get the floor going! This is the first official reissue in the world!

The album opens with a 13 minute improvisation titled “The Time Is Now For Change”. As Ranelin , Belgrave, and Harrison exchange flurries of notes and squeaks over improvised chaos from the rhythm section, the group builds to a spiritual high that calls to mind the best Albert Ayler recordings. Bebop lines and unison phrases occasionally rise to the surface, offering a glimmer of familiarity in what is largely a harsh soundscape. Yet what sets Ranelin (and indeed, all of his Tribe contemporaries) apart from the larger free and spiritual jazz scene at the time is their sense of rhythm. Even as Harrison evokes sounds that would make a Meditations era Coltrane blush, the drums stay in time, and the looping bass and piano riffs take on an almost hypnotic quality, repeating quietly under a whirlwind of sound.

Later tracks see the ensemble veer into soul jazz, and jazz-funk, with “Black Destiny” perfectly highlighting the group’s ability to meld the avant-garde with grooves that you won’t be able to stop yourself from tapping your foot to. Members of the Tribe were well known for their appreciation of African American popular music, and the influence of groups such as Sly And The Family Stone is clear in the song’s edgy rhythms and dense sound.

This double LP reissue also contains alternate versions and outtakes that are so good you’ll be wondering why they were originally left out! With modern remastering, three bonus tracks, and an obi-strip, you don’t want to miss the definitive version of Phil Ranelin’s The Time Is Now! "

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

"Are Possible" is a spark-throwing, undulating fusion of styles played (mainly) on banjo, upright bass and drums, made possible by the individual perspectives of Nathan, double-bassist Casey Toll (Jake Xerxes Fussell, Mt. Moriah) and drummer Rex McMurray (CAVE) work together in an easy-rolling manner, but one that contains an expansive, ass-shaking confabulation of ideas. Music is time in redux: Are Possible"s many moments in time carry details from all over the place. Rex brought a rhythm to the table after drumming on buckets at work, Casey provided a bassline that redirected a previous jam, Nathan brought in a song he"d been fucking with forever and they figured it out together. Their diversity of sources moves easily within the arrangements, rendering a far-ranging set of feels, from transcendental to new country funk to good ol" jazz and the folk-rock, even - all of it drawn out exquisitely when they mixed at Electrical Audio in Chicago with the delicate hands of Cooper Crain upon the faders. The Nathan Bowles Trio have done their due diligence, passing their music through time and space on their way to now.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Producers (previously known as the Trevor Horn Band), were formed in 2006, they include record producers Trevor Horn (bass and vocals), Steve Lipson (guitar), and musicians Lol Creme (guitar and vocals) and Ash Soan (drums).

Producer Chris Braide (keyboards and vocals) was originally a member but left in 2009 due to work commitments, though still contributed to the band's début album ‘Made in Basing Street’ (released under the name Producers), released on 25 June 2012. The extensive booklet features a new interview with the band by Record Collector’s Daryl Easlea who details the process of the making of this classic record

"Made by These Moments" is the second studio album from Mobile, Alabama natives The Red Clay Strays, and the band's debut album on RCA Records. This collection celebrates all the incredible moments that have defined the band's fast-rising success. Consisting of Brandon Coleman (lead vocals, guitar), Drew Nix (electric guitar, vocals, harmonica), Zach Rishel (electric guitar), Andrew Bishop (bass), and John Hall (drums), The Red Clay Strays made this record in Nashville with producer Dave Cobb at his studio, Georgia Mae. Standard LP Vinyl is Gold coloured. Indies only retail exclusive is Orange Smoke coloured. Standard x11 trk CD format. UK promo trip around release. Marketing activity across all media outlets.

Beginning in the 60"s, the small chamber group ensemble became increasingly important in the advancement of jazz, enabling horn players including Sonny Rollins, Joe Henderson, and Ornette Coleman to seek uncharted sonic territories and achieve new levels of freedom without the support of chordal instruments. With a mature, cohesive ensemble sound, the young trio juxtaposes tranquility and space with energy and tenacity across nine original compositions showcasing their stylistic breadth. From the swinging waltz "December" with a melodic contour reminiscent of a jazz standard, the soothing folk-influenced simplicity of "Vent", the intimate lyrical interplay between bass and clarinet in "Duo", to the heavy, propulsive power of the title track, the trio demonstrates fearlessness, listening, and spontaneity in a raw and personal recording that puts each of their distinctive voices in the spotlight. Christian Holm-Svendsen, currently resides in New York, studying for a master of music at Manhattan School of Music. In Denmark he played with, among others, The Danish Radio Big Band, Copenhagen Jazz Orchestra, Odense Jazz Orchestra, Jesper Zeuthen, and Regnfang. Daniel Sommer is an award-winning artist and sought-after drummer on the international jazz scene. Known for crossing the borders of different musical landscapes with a distinctive musical approach, Sommer currently performs with Karmen Roivassepp Quartet, Foyn/Hess/AC/Sommer and recently released the trio album "From Within" with Arild Andersen and Rob Luft on April Records. Mariusz Prasniewski is a Polish double bass player, residing in Copenhagen. A part of the Danish and European jazz scene for more than a decade, the bassist has worked with musicians like Tomasz Dabrowski, Anders Mogensen, and Gilad Hekselman.

Pelican Dub 001 presents a diverse selection of tracks crafted by DJ Merlín. It kicks off with 'Birth', an immersive opening tune with a desolate forest feel. The EP flows into Pacito and Sucram, two livelier tracks featuring breathy percussion, slimey analog synths and Birdlike FM cry’s. On the flip side, Theatre Dub (DNB mix) leads the way with heavy drums and cheeky melodies. Closing the EP is Morgana=Nostalgic, a smooth and wistful breakbeat perfect for late-night explorations.

forgive too slow, Avant Garde artist julia-sophie’s deeply personal debut album is testament to her ability to transform adversity into raw beauty, combining her traditional songwriting roots with her own take on experimental electronica. It features her intimate voice backed by warm and precise electronic sounds whose free spirited explorations give body to the carefully written personal songs julia-sophie comes off the drama of her 2010s rock band, Little Fish, which was signed to a major label. The surreal experiences (like being flown to Las Vegas in helicopters with a bag of slot machine money or given limousines for the day to go shopping), along with having to work in environments where she felt unsafe, drove her decision to leave the fame game. She turned down the offer to emigrate to America and engage with the machinations of the system as it did not feel “true or congruent with who I was”. Instead, she focused her attention on her hometown (Oxford, UK). She started recording lo-fi pop in her garage, using an old laptop, wonky microphones and hitting whatever was around for beats. Candy Says grew to be more of a collective than a band, and eventually co-wrote a film score for indie film Burn Burn Burn and recorded a cover of Running Up That Hill for the Netflix film Close (starring Noomi Rapace). Julia-Sophie soon started recording songs with her friend B, who had a studio stacked from wall-to-wall with analogue recording gear, vintage synths and drum machines. She decided to self-release and the music reached audiences beyond her expectations, including support from BBC Radio 6 and a feature in The Quietus. forgive too slow is Julia-Sophie’s debut solo album, and concerns relationships and the struggles we go through when we “forgive too slow” and can’t break out of patterns from the past. The songs narrate her story of self-destruction (“numb”), love (“falling”), and loss (“telephone”). By the end, embers are still burning and there is no telling if Julia-Sophie has found peace, but we do get a sense that she has gotten closer to the core of her being and is finally living authentically.

The band name is a nod to the eponymous album by Sonny Rollins from 1962, but the project refuses to sound nostalgic. Every performance leads to completely new music, with every player bringing influences from their own generation and background. Recorded by Bartosz Szkielkowski at Pardon To Tu, Warsaw, October 3rd, 2022 (except for LP format extra track). In this quartet Amado gathers three of his strongest longtime influences: German pianist Alexander von Schlippenbach, Norwegian double bass player Ingebrigt Håker Flaten and American drummer Gerry Hemingway. For Amado this band represents a deep dive into his own formative roots, something he has been dealing with more and more in these last few years. With Schlippenbach, Håker Flaten and Hemingway by his side, Amado has the perfect context to explore the classic materials he considers to be the basis of his journey as a musician, an impulse that is part him and part history. This is a quartet whose name really represents, aside from a direct homage to Sonny Rollins, a bridge between different languages, backgrounds and generations, all united through improvisation. Rodrigo Amado - tenor saxophone Alexander Von Schlippenbach - piano Ingebrigt Håker Flaten - bass Gerry Hemingway - drums

The all-new Dream Flight label embarks on its first voyage here and it does so in some style. 4:32AM - heavily associated with the Palace Vinyl shop in south London - is presumably named after that specific time in the night when only the deepest and most heady vibes will do, and that's exactly what we get here with 'Mitt Palms'. It's a delightful work of delicate and quiet deep house artistry with ambient pads and dreamy drums. 'Soft August Rain' is just as heady but brings some soft acid magic to the dusty beats and last of all 'Dream Flight' shows off some suburb drum programming with jostling broken beats and woody hits softened by smeared and painterly pads.

FFO: Melvins, Big Business, Torche, Karp, Lightning Bolt, Red Fang. Super limited vinyl, first press is transparent-y orange. Based in Sheffield, POHL is a stunning and brutal noise rock duo, featuring former Hey Colossus axeman Will Pearce on guitar/vocals, and drummer Dr Linda Westman of Toronto-based death metal two-piece, Old Hope. This July the band releases their debut album Mysteries; a sonic tome which draws as much from MF Doom as it does doom metal. It’s a swirling, cosmic onslaught of heavy motorik riffs and offhand musings about everything and nothing in equal measure. New single ‘The Whale’ summons the glorious thunder pop of Torche, the pithy lyricism of Karp and the DIY derring-do ethos of Guided by Voices. As guitarist/vocalist Will Pearce explains: “I suppose you could say that Mysteries is an album about grief. How we live with grief, and how we overcome it. When you’re trapped in the belly of the beast, and all seems lost - how do you come back from that? All I can say is that sometimes you eat the whale, and sometimes the whale eats you." Pearce, who played with Hey Colossus on their 2019 album Four Bibles and 2020’s Dances/Curses is thrilled to be teaming up once more with former bandmates Joe Thompson and Chris Summerlin and their Wrong Speed Records imprint. Recorded at the band’s own Cool World studio and mixed by serial collaborator and producer Wayne Adams, Mysteries is many things, often all at the same time. Veering from biblical allusions to fragmented Burroughsian cut-ups, it is at once mystical, profane, sacred, and scatological. Profoundly stupid, perhaps? Or just stupidly profound… either way, Mysteries demands your attention

Resonance is one of the most powerful forces this world has,
simply because there is no way to stop it. A drop of
condensed water separates itself from the concrete ceiling.
Propelled only by its own weight, it plummets down towards
a cacophony of naked bodies and §ailing arms to shatter on
a the forehead of an ecstatic dancer. And while all this is
happening, a voice resonates through the entire room,
making the walls shake and the crowd lose themselves even
further : “Move Your Body, Move Your Soul”. Narciss emerges
from a grimey basement in Berlin to bring us two heavy
utility dance§oor cuts on Actions Speak Louder Than Words,
his ¦rst Solo EP on Seelen. The title track is truly something
to behold. With a breakneck tempo, hard hitting percussions
and a legendary house vocal, it wields an absolutely
hypnotizing power that, before you know it, will make
everyone in attendance grind and juke till the early morning
hours. There is a palpapable vibe of mid 90s Detroit-Techno
but still it manages to cut out an identity for its own, with
razor sharp sound-design and a very uplifting attitude for its
genre. And while the tracks arrangement and sound-design is
very minimal, it is on Brennpunkt that Narciss really §exes
his trademark way of building tension with remarkably few
elements. Everything here is stripped down to its most
functional core. The synth-lead is simple yet menacing, the
kick-drum hits like a boxer, and you can be pretty sure that
the hihats will leave burns if you get too close to the record.
As is custom on this label, the B-side is dedicated to thereconstructive efforts of friends or family. This time the
mastermind of Manhigh and Grounded Theory, Mr. Henning
Baer, and Seelen’s very own Shaleen have both let their
actions speak. Henning Baer has taken on the title track in
his Remix and has transformed it into a true vintage electro
cut. A distorted synth and pad add heavy grit to the original’s
vocal, and the warehouse sized kickdrum will knock anyone
unprepared off their feet. Meanwhile Shaleen’s reinterpretation of Brennpunkt strips it down even further,
swirling the original’s elements into a groovy maelstrom.
This version rumbles, clicks and sneers, with sampled voices
from a Shakespeare play giving the whole ordeal a truly
macabre feeling. This is a tool for only the most darkest of
warehouses when the night is at its peak. So now, to
summarize this record : it is a call to action. And because of
this, it continues to resonate, even when the last track has
been played. And a resonance can never be stopped.

Warehouse Find!

As I-Robots launches a new compilation series that celebrates the roots and influences of Italo disco in Turin and the Piedmont region, the Opilec Music boss also offers up various singles from it with some special remixes and edits. After an EP from Johnson Righeira last summer comes the latest one featuring the legendary Captain Torkive and two of his tracks as well as some special versions by I-Robots. Captain Torkive is Daniele Torchio, an Italian artist active in the late seventies & early eighties who got his nickname from a love of UFOs and space, in fact the titles here are inspired by the Superman DC Comics classic.
He has worked with the likes of Valero Liboni and all the material here is officially licensed from Ponzo Records master tapes. His tracks here are some of the most rare 7" Italo space disco tunes from Turin's rich history and feature synthesizers and electronic effects that he made himself, as well as guitars and keys he also played. Up first comes the I-Robots 1979 Reconstruction of Flying Saucers To Krypton which marries both tunes into a lush retro space odyssey that shimmers and rockets through the cosmos with live drums and jangling bass. Rounding off the A side is 1979 original version of Krypton' which is just as dazzling and spaced out with layers of synths and arps all sounding squelchy beneath some robot vocals. Kicking off the B side is the I-Robots 1979 Space Reconstruction of Flying Saucers To Krypton that strips some of the layers and keeps one lead synth line and some ascending spaceship sounds, as well as a lovably loose groove that really stomps along with real character. Last but not least is the original 1979 version of Flying Saucers, a cosmic tune with sci-fi sounds and melodies shooting about above big disco grooves with the keys and synths that carries you away to another galaxy. This is another essential package from Opliec Music that shines a light on an artist and era that deserves all the attention it can get.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Mobb Deep was a legendary 1990s rap duo formed in Queensbridge, New York, by Havoc and Prodigy. They are considered the foremost progenitors of hardcore rap and one of the most influential hip hop groups in history. Their music reflects the hostile reality of an era when poverty, drugs and gang violence plagued the streets of New York. Their music is characterised by dark samples, the drums, snares and bass are defined and the raw lyrics are of a very high standard, in the most competitive era in rap history. With their albums The Infamous (1995) and Hell On Earth (1996) they achieved fame within and outside the hip hop community, including hits such as "Shook Ones (Part II)" and "Survival of the Fittest". They would later collaborate with top East Coast rappers such as Notorious B.I.G., members of the Wu-Tang Clan collective, Jay-Z, Nas and 50 Cent, on whose label G-Unit they would release their album Blood Money (2005). Prodigy's sad death in 2017 due to a long and cruel illness only has amplified an already existing legacy. On this album we will be able to enjoy the instrumentals and acappellas of many of their best tracks throughout their career.

Long-awaited reissue of an interesting and rare masterpiece by jazz guitar virtuoso Joe Pass, who took on jazz funk! (Made in 1971) This is the first release on Gwyn Records, a minor label in California, and features a very impressive lineup. Paul Humphrey and Earl Palmer on drums, Carol Kaye (label owner) and Ray Brown on bass, J.J. Johnson, Tom Scott, and Conte Candoli on horns, this is truly a historical session that brought together the top musicians of the West Coast at the time. From the cool funk of "Better Days" at the beginning of the session, almost the entire album was a storm of jazz funk. Free Sample" by Joe Sample, "Burning Spear," with its impressive undulating beat, "Head Start," with its too-subtle bass line, and the boogie shuffle "Gotcha! The jazz bossa "Balloons" and the weepy medium soul "It's Too Late" also have an outstanding presence. Not only can you enjoy Pass' intelligent soul-jazz guitar playing that hits all the right notes in a single tone, but the groovy, funky rhythm section is the best you'll hear on the West Coast.

Selector Series are back with more holy grail goodness, this time in the form of early 80’s boogie from Detroit.

Gene Dunlap was born and raised in Detroit, Michigan. He began his music career at age four when his father taught him to play the drums, honing his craft at Detroit Mumford High School. He went onto perform with Roy Ayers before releasing two solo albums in 1981, It’s Just The Way I Feel & Party In Me.

Party In Me, the title track from the LP backed with Take My Love was only released as a 12” promo in 1981. Now rare & in demand, if a copy can be found on the second hand market it will set buyers back more than £100.

Remastered using the original tapes and reissued for the first time since it’s release 43 years ago, fans can finally own a slice of classic boogie from the master drummer.

Lithuanian producer Subliminal makes a compelling debut on Distrito 91 with a six-track EP designed for the dancefloor.

Balancing between electro and techno, this release captures raw analog soundscapes.

Recorded in Kaunas studio, each track features saturated four-on-the-floor drums, resonant basslines, acid flavors and dreamy pads, all crafted using hardware instruments. Pure club-oriented material recorded in analog jam sessions.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

Animals on Psychedelics welcomes Swiss/Tunisian producer Ish for its 9th release, with another suitably lysergic 3 track EP.

A1 kicks off with vintage Sci-fi mind exploration samples and quickly evolves into a pulsating and accelerated acid trance rumpus, with the sample weaving its way around the tracks main goan filtered synths and throbbing bass, for a perfect, reflective end of night closer.

Still keeping things pacey and sci-fi, B1 guides us into more traditional trance territory, with lighter 808 kick drums and a progressive arpeggiated synth line that links up with his paranoid friend half way through for some machine talk , before metallic bass and electric guitar mates comes barging in to abruptly end all chat.

B2 continues the trip and lands us on an unexplored planet deep in the outer universe. Pensive, melancholic and breaksy IDM frequencies transmit through our vessels radio, whilst a woman reminds us that we still have our 'Body's' as we float in space.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

2024 Reissue

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

Brian Harden is a second generation Chicago House head, starting in 1995 under the wings of Glenn Underground, being part of the legendary Strictly Jaz Unit. His work on Detroit's Mike Grant and his Moods & Grooves label should also be noted.

One of his most famous works is his second EP on Cajmere's Relief Records, originally issued in 1996. The EP contains some of the most prolific drum machine action ever committed to vinyl and stands for the sound that brought Chicago House on top of the underground Music map in the mid 90s.

All four tunes have been carefully remastered from the original material for maximum club performance!

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

Weniger als ein Jahr nach ihrem Album „Through and Through“ kehrt Baby Rose mit „Slow Burn“ zurück, einer Sammlung von Songs, die ihre Klangpalette von progressivem R&B zu einer raueren, reichhaltigeren und weitläufigeren Linse amerikanischer Musik erweitern. Hier behauptet sich Rose nicht nur als einmalige Sängerin, sondern auch als formidable Songwriterin, die die Punkte verbindet, an denen Muscle Shoals auf Psych trifft, Psych auf Jazz, Jazz auf Americana, und die richtigen Musiker bringen alles zusammen. Produziert von BADBADNOTGOOD, fanden Rose und die Band eine sofortige und scheinbar endlose Quelle der Inspiration; was als Einleitung begann, wurde zu einem Tag, zu einem Song, zu einer Nacht, zu „Slow Burn“. Baby Rose war bereits eine kraftvolle Performerin - sie kann die Bühne mit Robert Glasper teilen, ohne in Schweiß auszubrechen, oder einen epischen Film wie Creed III, für den sie den Abschlusssong sang, mit stählerner Zuversicht beenden. Als Rose sich das erste Mal mit BADBADNOTGOOD traf, war sofort eine Verbindung da, und gemeinsam nahmen sie die Leadsingle "One Last Dance" gleich bei diesem ersten Treffen auf. Es war Roses erster Freestyle-Song, und er brachte entscheidende Teile ihrer Vision auf den Punkt. "Ich wusste schon immer, dass es neue Räume und Sounds gibt, in die ich vordringen kann", erklärt Rose. "Ich war schon immer an verschiedenen Sounds interessiert, die diese raueren Texturen einbringen." Während die Geschwindigkeit ihrer Zusammenarbeit Rose begeisterte und überraschte, waren das Potenzial und die Endergebnisse es nicht. "Wir haben uns schnell bewegt", sagt sie, "und es war wirklich wie ein Wasserhahn. Sobald wir “One Last Dance“ hatten, wurde klar, dass alles fließen würde." Die Songs auf „Slow Burn“ wurden zum Teil von Roses Erfahrungen inspiriert, die sie auf den Fahrten zwischen den Wohnorten ihrer Familie machte: dem Lärm und Chaos von DC und der ruhigen Landschaft von Carolina. Rose drehte die Musik auf und ließ ihre Gedanken schweifen, um Raum für innere Monologe und imaginäre Dialoge zu schaffen, die man sonst vielleicht nicht zu hören wagt. Diese Momente haben etwas Verträumtes, und sie schwelen auf Slow Burn: Erinnerungen verlieren ihre Realität, Gefühle ersetzen Geschehnisse. Der Titeltrack zum Beispiel setzt sanfte, schlendernde Drums gegen Roses lyrische Wiederholungen, während sie diesen Erinnerungen - manche leben, manche fühlen - mit geduldigem, beharrlichem Verlangen nachspürt. Das herausragende "One Last Dance" kommt als Liebeslied getarnt daher, ist aber eigentlich eine Ode an eine verlorene Freundschaft und ein imaginärer Traum von einem weiteren Tag wie in alten Zeiten. Die Realität verschwimmt wieder mit dem Gefühl, der Gesang geht in ein Wiegenlied über, und BADBADNOTGOODs Bassist Chester Hansen bringt diese traumhafte Qualität in einen schleichenden, vorsichtigen, aber liebevollen Unterton. Tatsächlich haben die meisten Songs auf „Slow Burn“ dieses schleichende, schattenhafte Gefühl, als würden sie auf Zehenspitzen daherkommen: intim, aber ein wenig gefährlich, zärtlich, aber ein wenig geheimnisvoll. So vollständig und überzeugend dieses Werk auch ist, Slow Burn weist auf einen größeren, höheren Aufstieg in Baby Roses Zukunft hin.

DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

Pleasure Planet’s kaleidoscopic debut album has been a long time coming, but good things come to those who wait. Developed over years of late-night studio improvisations, ‘Pleasure Planet’ is an affectionate and colorful patchwork of the New York City-based trio’s knotted influences that’s suspended between the rave and the chill-out room, weaving glistening pads and chunky basslines into vocal earworms and warm, saturated rhythmic cycles. Bandmates Andrew Potter, Kim Ann Foxman and Brian Hersey enter into a lysergic dialog with their discrete personal musical histories, drawing inspiration from vintage EBM, ambient music and heady early ’90s West Coast rave sounds and launching these classic elements into a transcendent new sonic universe.

Celebrated DJ and producer Foxman was a lead singer of Hercules and Love Affair when she first ran into DC rave veteran Potter, and the two rapidly realized their musical interests overlapped. So when Potter was recording with his studiomate Hersey, a NYC underground club scene mainstay, and they needed to bring in a vocalist, the choice was simple. Working together was a refreshing, freeing experience for the three seasoned artists, and the more they experimented, the closer they became; Foxman ended up moving into the studio, and Pleasure Planet was manifested into existence. “We’re like family,” says Potter. “We’re always on the same page – we couldn’t make this music solo.”

For Foxman, the open-ended jam sessions provided her with a chance to try something new, a few steps from the dancefloor-forward DJ tracks she’s best known for producing. And as the trio pooled their adolescent rave memories, reflecting on them with more mature ears, they began to develop the signature sound that was first heard on the Throne Of Blood-released ‘Animals’ 12″. Pleasure Planet aren’t trying to re-capture the past, but suggest a poetic contemplation that layers their recollections and musical obsessions into a hypnotic sci-fi dream. Harnessing a self-described “Aladdin’s cave” of analog and digital gear that help galvanize the timeline, they bridge the gap between avant-pop and icy bleep techno, curving suggestive words through lattices of tightly-engineered electronics.

On ‘Endless’, Foxman’s voice is echoed into a glistening haze that hovers around ethereal pads and tense, electroid pulses. Slow-moving and evocative, it’s a track that capture the open endedness of post-rave euphoria, touching the afterparty but moving far beyond the material world. She’s more recognizable on ‘Alien’, the album’s most upfront track, singing in a glassy, upper-register coo over urgent bass bumps, taut guitars and florid electronic atmospheres. “Are you an alien, or are you an angel?” she asks, fractalizing the borders between genres. And the band’s sense of cosmic togetherness bubbles to the surface on ‘Saved by the Bells’, a meditative after-hours experiment that diminishes the pulsing beats for a moment to bring out a spectrum of interconnected, serpentine melodies.

Modular bleeps and echoing percussion anchor the swooning ‘Planet Love’, one of Pleasure Planet’s most recent compositions and one of the album’s most outwardly psychedelic cuts, while the urgent and anthemic ‘Go With Madness’ steps back towards the main stage, evaporating Foxman’s memorable calls into a thumping procession of analog drums and squelchy, acidic bass tweaks. But they save the best for last, tugging at the heartstrings with ‘Remember (In Dreams)’, a giddy spiral of blipping synth arpeggios and haunting, reverberated chorals. It’s the perfect way to conclude an album that cryptically gestures towards the vulnerability of friendship, celebrating the shared experiences that result in some of the most meaningful memories of all.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

DJ Mes brings the funk on this new outing on Guesthouse. It draws on samples from some of soulful house's most notable big tunes starting with 'Out of Order' which rolls on deep drums with nice smooth pads and summery vocals adding the charm. 'LGMH' rides on deeper, bigger bass and is a nice loopy and hypnotic jam with classic house vibes and a superb falsetto hooking you in. 'No Memory' is another fat-bottomed and feel-good house groove that rolls deep 'Werkin' Gurl' flips the script with more attitude in the vocals and header drums for some peak time fun but with no less emotion.

"The Remedy," is I G Culture's latest album under Likwid Continutal Space Motion, Culture draws parallels between the complex world of fungi and London's Underground dance music scene. Both are intricate networks that thrive beneath the surface, connecting diverse elements and influencing one another. The London dance music scene, like fungi, encompasses a variety of styles and genres, from drum and bass to Garage Dance Subcultures may go unnoticed to the casual observer but are musical corner stones in our society. Dance floors and clubs serve as spaces for communal healing, allowing people to let go of daily stresses and connect through music and dance. I G Culture's "The Remedy" celebrates this vibrant underground culture and highlights the interconnectedness of all musical styles. Through his innovative production and thematic depth, he underscores the transformative power of dance music, emphasizing its role in promoting well-being and unity. The idea of Fungi also is expressed in the artwork by Amsterdams 'Machine' with IG's direction, who used fungi in an original collage revealing a secret world.

Roy Brooks began his career in the 1950s and remained at the forefront of the US jazz scene until his death in 2005, starting with the Horace Silver combo in the early 1960s and continuing with the bands of such eminent artists as Stanley Turrentine, Yusef Lateef and Charles Mingus.
He was also a member of the legendary Detroit spiritual jazz label TRIBE and M'Boom (a cutting-edge project in which all members were percussionists) led by legendary drummer Max Roach, and had a huge impact on the US jazz scene.
Roy Brooks And The Artistic Truth, a spiritual jazz group led by Roy Brooks himself, is a group of highly purified Blackness and sharpened spirituality!

This is the ultimate in spiritual jazz, praised as one of the rarest, most spiritual and grooviest albums of all time, The tension-filled sound with strong black musicians such as Joe Bonner (Piano), Reggie Workman (Bass), Sonny Fortune (Alto Sax) and Cecil Bridgewater (Trumpet) is as "ultimate" as "ETHNIC EXPRESSIONS". A definitive spiritual jazz album!

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’

Buddy Rich (1917 - 1987) was described and announced around the world as 'The World's Greatest Drummer.' Rich is still considered one of the most legendary drummers of all time. A master of his instrument, his technique, energy, and speed were praised globally. The jazz drummer and bandleader began his drumming career as a child. When Rich was 18 months old, he started playing the instrument and later performed as a child, becoming known as 'Traps the Drum Wonder.'

Buddy Rich always sought to surpass himself; the next show was always better than the previous one. Nothing could hinder this goal—not even a broken arm or a heart attack could stop Rich from giving a better performance than the last.
In 1978, Buddy Rich and his 14-piece big band played a spectacular show, and thanks to NSJ Records, NTR, AVROTROS, and MOJO, this legendary concert is now available on LP!

Buddy Rich is one of the LPs that is part of the North Sea Jazz Concert Series. Other concerts in this series feature artists like Dizzy Gillespie, Ray Charles, Dexter Gordon, and Jan Akkerman.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk.