Suche:dub one

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

We are back, and pleased to introduce you the first ever physical 'Various Artist' release with some of our favourite producers and good friends.Our dear Pily who has been the secret weapon inside many USB's and record bags lately, opens up with A1. 'Bailo En Circuito' sampling Alma Matris vocals, adding an infectious beat, simple and quirky enough to keep you going, masterpiece/.A2. Coming all the way from South America, Uruguayan super newcomer DJ/producer Marcos Coya debuts on DID with a straight fire tune. Hypnotic and with a characteristic acid strength, 'Buahh Trance' has been heavily supported by legendary DJ KOOLT this past summer. Flipping the record B1 is none other than the prince of fast heart-beats, recently moved to Spain, Prince De Takicardie brings the 'Badalona's House', an after-party happy/trippy tune, let's take the ride!.B2 by the Ibizan boy's JNJS (Jacob Saavedra & Jay Nortown) 'X-Money' is an economical broken-tech story, it will make you think about it, if you are deep in dis one enough...B3 is London's upcoming Dub Dealer Eren Arif with 'High Volume' a breakbeat dubby tune to close the V/A.

Over the past decade Rising Sun has firmly established himself as a purveyor of the finest deep, dubby and cinematic leaning house and techno, consistently delivering a sound that is distinctly his through labels such as Fauxpas, Freund Der Familie and his own numerous imprints Reality Used To Be A Friend Of Mine, Kristofferson Kristofferson and Beautiful Things Don't Ask For Attention under a variant of guises such as The Ambientist, Rising Sun Project, Rising Sun Psyche, Rising Sun Melancholia and simply Rising Sun under which he returns here for Echocord. As one has come to expect from a Rising Sun release ‘The Eternal’ has a firm foundation in emotive melodies and atmospherics across six alternate versions. ‘Eternal 1’ leads with muted drums, fluttering stabs and a preaching spoken word vocal. ‘Eternal 2’ edges into darked realms, merging expansive dub echoes with swelling subs and tension building strings before ‘Eternal 3’ dives head first into ethereal hypnotism via unfurling textures, soft stab sequences and a rounded kick. ‘Eternal 4’ opens the B-side with a subtly unfolding construction as vocals, chords and swinging drums run in unison. ‘Eternal 5’ then strips things back to a gritty statured feel with boomy percussion, enchanting strings and nuanced stabs before ‘Eternal 6’ rounds out the release laying down murky, multilayered pads, widely dispersing reverberations and bubbling delays throughout.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

Starting his career with appearances on BBC Radio 1 and signing with Elton Johns label as a teenager, Maldwyn Pope's presence in music has been rich and productive from an early age eventually leading to working with people like Cliff Richards, Art Garfunkel and Bonnie Taylor. However, his presence in Italo-Disco has been quite scarce, but completely on point. "Altered State" is a masterpiece amongst enthusiasts and collectors of dancefloor sleaze and downtempo wellness. Heavy rock influence meets Rimini with this one off experiment from the seasoned multi instrumentalist. Original instrumental remix done by none other than Alessandro Novaga, the entity responsible behind one of Ron Hardy's favorite DJ tools (Faces Drums). B-side features an 11 minute excursion into a completely new altered state of dubby delayed trance, for special cosmic holes only. Re-issued with new full artwork.

Love Makes Magic, the debut LP by JIM - aka Jim Baron of Crazy P & Ron Basejam notoriety - was released in June 2023 and the album has connected with an ever growing number of fans; lured in by great songs, Laurel Canyon singer-songwriter acoustics, 60’s psychedelic folk-rock, a dash of Balearic, discoid funk and a healthy dose of yacht-rock.
The album was voted Album of the Year in the Bill Brewster Furtive 50 chart for 2023 - like a Balearic BAFTAs - and Still River Flow (Generalisation Dub) came 2nd in the tracks of the year... which was nice.

Disco Pogo, Piccadilly Records and Mr Bongo all gave the LP honourable mention in their end of year charts too.
As you’d expect with an artist who has 25 years of dance music connections the accompanying remixes weren’t bad either... Crooked Man, Ruf Dug, Flying Mojito Brothers and Generalisation all came up with fine reinterpretations. Luke Unabomber hailed The Crooked Goth version of Phoenix as his track of the year. The vinyl run of the Crooked Mixes sold out in record time.

As the remixes racked up we considered collecting them together for a remix LP. And so here we are...
presenting Love Makes Magic - The Remixes.

The five aforementioned mixes will be joined by five brand new ones from X-Press 2, Mang Dynasty, Chris Coco, Begin ( James Holroyd) and Brown Fang. Spanning pumping club bangers, perfect sunsets soundtracks and left-field electronica.
We love them.
We hope you do too..

Sully returns to Astrophonica for a celestial collaboration with young Manchester based vocalist Salo.

Always one step ahead of the pack, Sully relinquishes the signature crusty Jungle breaks in exchange for crisp and steely, live sounding drums to provide the groove for a stripped back and crushed 808 bassline - a hi-def take on his iconic sound. This minimalist structure gives the foundations and space for Salo’s bittersweet vocals to take the lead with clarity and float off into the glorious twilight. A celestial collaboration that spotlights both artists’ strong points.

Sully totally flips the script with the ‘Not Just a Dub Mix’ by taking Salo’s vocals and giving them the Tubby treatment. The Jungle breaks return and sirens ring out - one for the club Salo, born in Tbilisi, Georgia before moving to Manchester via Glasgow as a child, is a classically trained pianist with all the swagger and charm of Manchester club music. She studied at Glasgow Music Academy and Royal Northern College of Music before working with club legends such as Zed Bias, Chimpo and Bassboy.

This is Sully’s first return to the label since 2020’s seminal, highly requested and repressed Swandive EP. At this point he honestly needs little introduction - he’s become one of the highest selling and most sought after Jungle artists for the best part of a decade and shows no signs of stopping

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Numa Crew and the ’London City Warlord’ Riko Dan join forces on this dancefloor banger called ‘Babylon’.

When it comes to the influence of Ragga in the MCing styles of Grime, one of the undisputed pioneers is Riko Dan - most famously associated with Roll Deep, one of the most important collectives in the history of Grime.

The original track is an explosive mix of Grime and Dubstep sounds spiced with a Dancehall flavor that gives Riko the perfect platform to spin raw and punching lyrics.

The flip side is a remake of the original ‘Babylon’ in a pure Dub stepper style, heavyweight bassline, hypnotic skanks and mystical atmospheres that fuse the two worlds of Grime and Dub in a unique sound. Certified sound system material.

2LP Repress!

Despite being one of the best kept secrets in house music, K4B Records is one of the most influential labels of the 90’s. Now the impressive discography is available digitally for the first time, with each record written and produced by Kingsley O. An Englishman of West-African heritage, Kingsley had moved to the states to pursue his musical aspirations of working with the finest soul vocalists, and his productions went on to inspire dancefloors both sides of the pond. Kingsley wrote some of the most loved songs of the 90’s underground, and by bringing emotive vocals to the dancefloor he defined the K4B sound. The sharp and rugged drums, rolling bass and melodic keys paired with the dynamite punchy vocals of amazing vocalists, such as Maydie Myles and Dawn Tallman, found success on the US Garage scene as well as being hugely influential as UKG began to explode, cementing K4B’s musical legacy in the house music hall of fame.

This special 2 x 12” vinyl package offers a consolidated dose of some of the standout records released by K4B from two of their most prominent artists, Maydie Myles and K London Posse. Whether this is a revisit to K4B’s catalogue or an introduction to new listeners, this first edition of a series of vinyl releases is the perfect way to dip your toes into the illustrious back-catalogue of this legendary label.

It all started with a crashed computer and it certainly didn’t end there. »Cinnte le Dia« is the third collaborative album by Hanno Leichtmann and Valerio Tricoli, their first entry into Ni Vu Ni Connu’s duo series that focuses on Berlin’s Echtzeitmusik scene and beyond. Having already released two joint records on the now-defunct Entr'acte label, the two musicians wanted to document a 2018 concert in Berlin, but technology failed them. Undeterred, the sound artist and percussionist and the electroacoustic composer went to the former’s Static Music Studio to record six of the eight tracks on this record straight to tape, with two additional ones being recorded during a performance at Eupen’s Meakusma festival in 2019.

After 2016’s »The Future of Discipline« saw the duo enter the studio for a one-take session with added synth-bass overdubs and 2018’s »La Casa delle Chimere« documented a live gig in Kyiv, »Cinnte le Dia« presents a synthesis of the two approaches. Mixing the album together and adding overdubs—Leichtmann with his synth-bass again, Tricoli with his trusted Revox B77—the duo combined the special energy of their performance in front of a live audience with the intimate atmosphere of a studio session between two exceptional improvisers and composers. The pieces are accordingly marked by their sonic density, but also a rhythmic intricacy that makes the album as a whole negotiate its place in music history between bass-heavy, dubbed-out club music and electroacoustic as well as musique concrète techniques.

Leichtmann worked with a mix of acoustic percussion routed through a modified looper and a granular live sampler as well as electronic drums consisting of three modular sampleplayers, a Syncussion drum synth and a bass drum module. Depending on the current set-up, the two fed this input through Tricoli’s B77 either individually or collectively to further manipulate single elements or the entire sound. What might look complicated on a tech rider sounds intuitive on record: these are two versatile musicians engaging in a play of difference and repetition, acting and reacting to each other in real-time, but also creating additional layers by inserting new elements after the fact. In a very literal way, »Cinnte le Dia« is the duo’s most refined album, yet at the same time a testament to the uncanny energy they unleash during their improvisations. It’s solemn and moody, spontaneous and driving at once. Of course a computer couldn’t handle that.

Brixton-based David Agrella returns after the success of his Baby Ford-remixed 'Modulo 02', with two tracks and a nifty remix of each to boot. 'I Felt It Coming' is a heady peak time track, with Underground Resistance-style drum machine handclaps and an addictive synth hook and all the suspense and drama of a Stephen King horror tale. Domenico Rosa's remix turns that frown upside down, converting it into a perky, cheeky and altogether lighter workout that nevertheless will keep feet on the dancefloor. 'Reflexion Nocturna' (Priori remix) kicks off the B-side with fizzling dub techno stealth, subtly embellished with a smidgeon of 'Funky Drummer' breakbeat, while Agrella's original closes proceedings with head down, echo-set Leftfield-style prog house skank. Not for nothing is this chap known as one of the techno scene's fastest rising new names.

Zed Bias has been a bass, dub and garage king since forever, but his star shows no signs of diminishing any time soon. For this one he has worked with Shumba Youth on a new single that finds him dipping into a world of dancehall and ragga. 'London Town' is heavy, with real bass weight, churning drums and fizzing digital synths under the superb bars from Shumba who muses on the state of London right now. Next to that are slithering leads and sci-fi pads to make for a fine future vibe. The acappella is served up on the flip for DJs who want to play.

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

Rare as hen's teeth digital dancehall from out of late 80s/early 90s NYC, via Cooly aka Koolindian aka Super Cat's cousin Andrew Maragh, originally released on his own Mad Indian Records - reissued here for Death Is Not The End sub-label 333.

Maragh sang in church choirs and on soundsystems in Jamaica before moving to New York in the 1980s where he quickly became involved on the underground music circuit, taking inspiration from his cousin the legendary Super Cat. "Freedom" was penned while he was incarcerated, and details the unfairness of the judicial system at that time, alongside the heartfelt need to "hustle everyday to make ends meet, whether that's picking up scrap metal or cutting lawns or voicing dubplates, whatever you do to make a dollar", says Maragh.

Having bought an Ampex tape in Manhattan, Maragh headed over to the legendary Philip Smart's HC&F studio on Long Island with the intention of laying down his lyrics on the version to Dennis Brown's "Children of Israel". After hearing the song however, Smart went ahead and built this one-away "Freedom" rhythm on the spot. The track was then carried to Count Shelly's Super Power Records where it was then pressed & distributed as the first and only release on the Mad Indian label around the turn of 1989/1990.

For a long time, the music of Congo-born Bony Bikaye had to be sought in the purgatory of "world music", where diamonds in the rough cohabited with bland nightmares of white dudes who froze rumba like fish sticks. Worse, they did put it on the menu, when so many longed to move on. Take Bikaye, who grew up listening to modern european music, digs Krautrock, struggles with tradition, obviously looking for trouble in the genre. In Brussels, he recorded a few albums with CY1 (Loizillon/Micheli), and brilliant defectors from Aksak Maboul, produced by Hector Zazou. Now it's up to french trio TONN3RR3 to take up the torch and build this project that proudly brags: "It's a bomb". Thought up at home by Guillaume Gilles (compo/keyboards), the album was finished at One Two Pass It studio, with Olivier Viadero and Gae"lle Salomon on percussion, Yoann Dubaud (machines & bass) and Guillaume Loizillon (synth of CY1 fame, and matchmaker of this affair). It's a deeply musical record, crafted by no-attitude reference players with nothing left to prove, and you can hear it. Floats well above the fray. "Keba na butu", beware. Indeed : beyond the simple pleasures of soukouss, or the rumba guitar riff that spins like a merry-go-round that skipped technical inspection, lie lush orchestrations. Freestyle, synthetic : something old, something new, something what-the- fuck-is-that-now. There's straight, there's syncopated, there's 808 and knee-jerk inducing bass patterns_with a vision. BIKAY3 plays his voice more than ever. His crazy vibrato has improved like hard liquor over the years. In "Zela" and "Balobi" in particular, he puts it to good use with flamboyant, Screamin' Jay Hawkins-style antics. He can also resort to pure storytelling : "La fore^t et les dieux", is a French-spoken excursion into the wild, moving along in grasslands of synths and percussion with TONN3RR3. A tale of gods and spirits, plain and simple. Nicole Mitchell brings the occasional flute in "Akei" for this trip in the bush of ghosts where lingala and kikongo rub with English and French. They saved "It's a bomb" for the end, a bastardized rumba, with rimshots that slap like a cool hand on willing skin. We're living in a golden age of reissues coming out in droves and satisfying our desire to catch up on our neighbors' musical heritage, but let's not miss the boat : it's now or never to listen to the music of the living. - Halory Goerger

For decades, any sound system worth their salt headed to the dub cutters to get a piece of the “Late Night Blues” riddim. Acetate after acetate of the riddim rumbled through speakers from Brixton to the Bronx, making it a certified sound system classic. Now, Pressure Sounds comes with four exclusive cuts of the Late Night Blues rhythm. The first 2 cuts combine Diggory Kenrick’s always-in-demand flute with the legendary Matic Horns on Side A. The flipside takes the riddim into deep, dubbed-out territory with two dangerous cuts, one laden with dreamy chimes, the other snatches of vocal.
A welcome addition to the Late Night cult!

REPRESS!!

4 new dub plates from the Lee Perry Upsetter cannon.

All are previously and all exclusive to Pressure Sounds!

Side one is taken up with two mouth watering cuts of 'Keep on moving' both cuts are bass heavy, echo drenched sound system friendly mixes.

The second cut was mixed at King Tubby's studio and features all the dynamics associated with his style... Sparse sounds over clattering drums.

With the passing of time, Tubby's mixes are actually better than ever.



The two cuts on the flip are further explorations of 'Mr Music' and 'Police and Thieves'. Stern stuff that takes it to the edge.

More genius from Mr. Perry!!!

We will have a limited amount of the 200 only silk screen printed sleeves!

Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim.

Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.

Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on "Freddie the Freeloader" on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.

All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound."

The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a "kind of ultimate harmonic challenge", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently "Naima" and "Giant Steps."

The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "Trane's first genuinely iconic record." In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list.

Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.

Casino Classix is one of several aliases for legendary minimal man Baby Ford. Here it is also the name of a four-track EP that finds the long time UK underground operative working alongside fellow British techno luminary Mark Broom on a quartet of devastating cuts. 'Ringer' opens up with some dark and nimble baselines darting about beneath a dense layer of percussion and FX. 'Hoppa' is then a more precise and minimalist cut with wonky bass snaking down low beneath the icy hi-hats and jumbled toms. There is a warm dub depth to 'Hot Pot' to kick off the flip and 'Beach Club' shuts down with a restless mix of synth daubs and deft percussion over an ice cold groove.

Long out of print 1979 Roots Reggae classic
Lilited 7" repress / In-demand roots anthem
Backed with Prince Jammy's black belt Dub cut
Recorded at Channel One and mixed at King Tubby's
Produced by Prince Jammy

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

Soul Jazz Records’ feature-length documentary/CD/Book ‘Studio One Story’ is being re-released on 1 August 2011, and is also available for the first time as a stand alone DVD. The DVD is being issued as a prelude to the forthcoming deluxe-hardback book ‘Original Cover Art of Studio One Records’ released this autumn by Soul Jazz Records as well as a new Studio One album compilation on Soul Jazz to coincide with the new book.

Studio One Story is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. ‘Studio One Story’ was filmed in 2002, two years before the death of the legendary Clement ‘Sir Coxsone’ Dodd, a man famously reticent of being interviewed - until the making of this film. Described by Chris Blackwell as the Motown of Jamaica, or ‘The University of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley and the Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few! Studio One is the ‘foundation’ label of Jamaican Reggae and Clement ‘Sir Coxsone’ Dodd is seen by many as its father.

One and a half years in the making, Studio One Story is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how he and the many artists and musicians at Studio One literally shaped the rise of Reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s.

The 4 hour documentary (including over an hour of extras) was filmed on location in Kingston, Jamaica and features interviews with Horace Andy, Alton Ellis, Ken Boothe, Sugar Minott, Denis Alcapone, The Ethiopians, Sylvan Morris, Johnny Moore, Lone Ranger, King Stitt and many others. The DVD also includes rare footage of The Skatalites, Jackie Mittoo, Count Ossie, Marcia Griffiths and others. As well as the stand-alone DVD, Soul Jazz Records are reissuing the original (DVD +CD+Book) original box set.

IF YOU ARE ORDERING THIS PLEASE CHECK IF YOU NEED NTSC (AMERICA, JAPAN, ETC) OR PAL (EUROPE, AUSTRALIA, ETC).
THE DVD HAS FRENCH AND ENGLISH SUBTITLES.

NB.MP3 Release is for the audio CD only.

REVIEWS ‘Studio One was Jamaica’s Motown. This documentary brings it brilliantly to life.’ The Telegraph ‘The history of Clement ‘Coxsone’ Dodd’s legendary Jamaica studio is fantastically told through interviews, copious amounts of music and historical footage and more.’ Uncut ‘Studio One Story is no mere historical document; it is a map that will lead you directly to a massive seam, endlessly mineable, of musical gold’ The Observer ‘A fascinating documentary’ The Telegraph ‘Compulsive viewing for anyone with an interest in Reggae’ The Wire

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Repress.

Studio One's music in the 1970's took the label to new heights. The new style of Disco Mix brought many areas of Reggae together ­ Roots, Lovers, Disco and Dub all came together in extended form, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn-drums and more producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records.

This Studio One Disco Mix album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as it's infamous Music Lab 10"s out of New York) and consequently many of these track s have been unavailable since their day of release. Studio One Disco Mix features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo and Willie Williams (with his classic re-versioning of his own "Armigideon Time") alongside less well artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley and many more.

1973 Killer with 2 Dubs & 2 Clavinet Instrumentals

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

_

KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

Malka Tuti is proud to present the solo debut EP by mister Andrei Rusu, 
 one half of Khidja.

After a series of stellar remixes in the past year to Cosmo Vitelli (on Im a Cliché), Dadalus & Bikarus, Santaka & Nic Arizona, Rusu is finally ready to present his own original solo materials to the world.


Ahead of a full LP planned on MT for later this year, Rusu is presenting us with 2 fresh new tracks. The A-side is a 120bpm dirty and distorted super- trippy banger for the biggest floors and the darkest rooms.

On the B-side Rusu collaborates with an artist known to the followers of the label - Decha, who contributes her signature expressive vocals on this half time industrial dub track. This time however, the vocals run through the hands of Rusu who soaks them with distortion and even more punk attitude, almost echoing the energies of the late Genesis P-Orridge.

The release includes 2 remixes by a couple of master remixers who also happen to be part of our extended family. 


Remixing the title track, and off the success of his 2 incredible albums
released on 2023 (Music From Memory & Offen), Philipp Otterbach supplies a remix for the books, channeling the original track’s intensity through oceans of reverb, whimsical samples and addictive trippy rhythms.
For the Hedesch Remix we’ve asked one of our favourite remixers out there aka Black Merlin to contribute his cut and boy he didn’t disappoint (does he ever?)


Black Merlin supplied us with a long and addictive psychedelic synthetic and very dubby journey for the b-side.

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry.

« BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres.

These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress.

Picture Hakime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

Press + Tour highlights :
DJ Mag, Resident Advisor, XLR8R, BBC6 Music (Sweatbox Mix for Sherelle), First Floor, The Quietus, Phonographe Corp + more TBA

Upcoming tour dates for Q1-Q2:UK, Switzerland, Netherlands, Germany, Sweden, Belgium, Slovenia, Ireland, Australia, Croatia, USA

Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film.

Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it.

Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it.

Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one.

Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk.

They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions.

Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.

Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership

Egil Kalman has levelled up on this one; we were stunned by his last solo opus, and on ‘Forest of Tines’, the bassist/synthesist has traded the EMS Synthi 100 for the Buchla Series 200, recording at Stockholm’s illustrious Elektronmusikstudion (EMS). Here, he builds on themes he explored on his debut with a generous 20 track double album that marks firmer lines between Scandinavian folk music and contemporary electro- acoustic minimalism.

Using woody, synthesised tones that gradually open into sawing wails, Kalman suggests harmonies that lie between the 17th century polska and earlier, pre-Renaissance sounds, mimicking the tonal and textural fluctuations of strings with advanced tuning and sequencing techniques. There are plenty of artists delving into the past to unravel their identity, but Kalman’s approach is refreshingly unadulterated. He recorded the entire set on the fly, using just spring reverb to add extra texture, without overdubs or modern DAW-style layering, the Buchla 200 played almost like an acoustic instrument.

There’s a glimmer of vintage acid on the lithe ‘Dub One’, a complex, rhythmic experiment that lashes its pulses together with willowy portamento slides. And on ‘Klystron’, he absorbs warehouse techno’s architectural oomph, splaying psychedelic, reverberating ascending sequences over jagged kicks; listen carefully, and there’s something else going on in the background too, as Kalman meets his stabs with flute-like echoes. It’s a peculiar cocktail of ideas and provocations: ‘Mbira’ finds the composer shaping his synth into dusty, fluttering hits that resemble the titular Zimbabwean finger harp, and on ‘Drums’, he pipes pre-recorded percussion through the system, triggering its oscillators and helping shape its rhythmic patterns. He’s most comfortable when he’s mines a hazier past, ‘Autumn Leaves’ is a mystickal, just intoned droner that harmonises with Mattias Petersson’s awesome ‘Triangular Progressions’, and ‘Subtines’ sounds as if Kalman has deployed his instrument in a subterranean crevice, resonating his rumbles around synthetic water droplets.

If it’s uncanny court music you’re particularly interested in, there’s plenty of that too. ‘Polska’ is another sublimely hauntological Swedish folk interpolation, while closing track ‘Ocquet’ appears to blur Kalman’s ideas more thoroughly, melting folk phrasing and peaceful, uneasy drones to draw us to a neat conclusion. Soft-hearted but animated, it’s modern electronic music that isn’t afraid of employing vintage techniques to suggest new directions.

Another previously unreleased killer from the early '80s Radics / Scientist days, this one was played on dubplate by Volcano in JA and Jah Life in NY, alongside other cuts of the rhythm (also eventually to be released). This is Peter Ranking the singer, not the more well known deejay.

Round two of Leo Zero's edit archive series sees four more favourites given the LZ treatment.

On the A you'll find a killer housed-up version of an New Wave classic, alongside a tight n' tidy beefed up slo-mo disco remaster and chop of a west coast rock beauty. On the flip, a chunky remake of Brit soul bomb as well as a curveball dubby, wonked out version of an alt rock rhythm that's flipped this one into a deep 5am groover.

Purple Vinyl Repress is coming

One of Smiths favourite pieces of music, At Les, has been a remix target of his for a long time but earlier this year inspiration and motivation combined and resulted in two brilliant interpretations which were immediately sent to Carl Craig, purely out of respect. Craig loved them, granted his permission and approval for a special remix package release on Tronic and now, here we are with one of the biggest releases of 2010.

Delivered in both Tronic Treatment and Hypnotica Remix forms, Smith has taken the originals warmth, musicality and emotion and given them the sort of energy and power which has made him one of the most bankable producers of recent years.

The Tronic Treatment remix starts slow but with careful and patient layering of melodies builds to an epic, peak time track which takes on an almost orchestral feel while the aptly titled Hypnotica Remix takes a slightly more aggressive, loopier and hypnotic take.

Repressed on Clear Vinyl for 2022


Dave Clarke Very good, congratulations!

Slam awesome mixes. played last night - a classic just got better really love both mixes

Laurent Garnier what a classy remix of this stunning classic—Will play everywhere and will playlist on the radio BRAVO

John Digweed "Massive!" Both Remixes!

Dubfire "Christian has managed to do a great remix of a timeless classic which is both reverent and of the moment. Well done! I closed with it at Awakenings festival and it sounded wicked!"

Adam Beyer Love the "Hypnotica" remix that Christian made. Been playing it over and over and it was one of the biggest trax during WMC for me!

James Zabiela Oh My God!!!!!! Going on my essential mix that was meant to be handed in this morning. Re-working to fit this in. ANTHEM!!!!!

* A heavyweight slab of UK roots & dub, originally released on the Jah Warrior label in 1997 gets a welcome reissue by Partial Records
* Presented in a showcase style, with each vocal followed by the dub counterpart.
* Produced by Jah Warrior and mixed by Dougie Wardrop in London.

Currently celebrating ten years of releasing music on vinyl & cassette and following hype for recent releases from Moscow (via Tallinn)’s Galun (glagol album) and Osaka's Kiji Suedo (Hosek EP & Riot album), Edinburgh's Hobbes Music label continues to mine a leftfield seam with this brand new album from singer/songwriter George Demure (Tirk, Output) aka DJ/producer George T (Greco Roman, Optimo), better known as George Thomson to his mum. And it’s another absolute peach if you have a taste for post-club sounds of a more leftfield persuasion.

This is the follow-up to his 'The Record Store' EP which came out via George's own All Noise imprint in 2021. He has also released the Roll On, King's Cross single via Hobbes Music under his George T moniker last November (plus various bits for the Paradise Palms and Ramrock labels in the interim).

“It all began with the Record Store EP in 2021,” explains George. “Limit my options. No samples, one drum machine, two analog synths (mono and poly), computer simply to record. I was so happy with the results I began with what you hear today. Same drums, same machines (or lack thereof) maybe some real percussion and melodica but hey, I only answer to me.”

Imagine, if you will, Scott Walker jamming with Kruder & Dorfmeister in a very small studio…

Bonus Album ‘Dandy In Dub’ features dubs, instrumentals and bonus tracks, with yet more regular flashes of pure brilliance. Be sure to check out opener 'After' and closer 'Blue Lou', which sound like George might well have sound-tracked some French 80s flick of the 'cinema du look' period (Betty Blue, Diva et al) in another life. Plus ‘Mr Minilogue’ with its clarinet-like synth.... Does it really get any better than this?!!

Sleeve art by the amazingly talented Bernie Reid, another local legend.

Feedback/Reviews to date:

'He's so talented!' JD TWITCH (Optimo)
'Love the LP. Sounds really together, production is awesome. I love the aesthetic. Vocal tracks sit nicely with instrumentals. Vocals sound light-hearted' THE MAGHREBAN
"On a bobbled and float-y, light sunbeam dappled vapor of deep house, garage, electro, kosmische, leftfield pop electronica, dub and new wave (both the German and UK’s), the Edinburgh DJ/producer and singer-songwriter George Thomson continues the good work he laid down on the last EP... It’s a most lovely, swimmingly blend of motivations, feels and deep grooves that effortlessly comes together in a generous offering of electronic music: the very epitome of the Hobbes label’s remit in delivering leftfield unique visions of now techno, house and club sounds." MONOLITH COCKTAIL
‘I love the album’ LEO MAS
‘Lovely stuff’ S/A/M (Music For Dreams/DK, Cafe Del Mar, Pikes, Playasol Radio and many more, Ibiza)
Plus play/s from Andy Wilson on ‘Balearia’ Ibiza Sonica Radio
+ DJ Dribbler (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure)

Memoria Recordings is proud to present MEM057, an electrifying vinyl record that will transport you to the heart of the underground electronic scene. Dive deep into the world of Romanian maestro RQZ as he takes you on an exhilarating journey through the pulsating rhythms of "Club Cage."

A1: Get ready to be enveloped by the hypnotic grooves of "Cage Beam." RQZ crafts a sonic cage that captures your senses, allowing you to lose yourself in the relentless beats and ethereal melodies.

A2: Secret Fantasies beckons with a seductive blend of lush synths and tantalizing percussion. Let RQZ be your guide as you explore the hidden realms of electronic music, where desires are unveiled one note at a time.

B1: As the needle hits the B-side, "Eden in Dub" invites you to a blissful oasis of sound. Immerse yourself in the dub-infused rhythms and let the music wash over you, creating a sense of euphoria that's bound to linger.

It is no secret that Montreal had a bubbly disco scene, but there are still some under-the-radar gems. Sophie Stanké is one of them. The charismatic Quebec-Lithuanian actress, radio host and singer hung around with some of the hippest disco people of the 80s, and worked on the sexy boogie song "L'amour d'une diva" with no other than Geraldine Hunt. Scandalous at the time, it became a local disco hit. Famous french singer Daniel Guichard noticed her and signed the song – slightly rearranged – in France on his label Kuklos. Here is the rarest original Canadian arrangement that Stima reissued, in all its glory: long and instrumental versions.

The other side includes the more obscure and even more erotic "J'adore". It was issued in 1987 under her first name, Sophie, with synth-pop and new wave influence. An instrumental was missing, thus Baerlz delivers a new dub cover and now each song has also its “version”, in the purest 80s 12 inches tradition.

After ten years spent in France, where she worked with another star singer Nicolas Peyrac, Sophie is now still active in Québec's cultural life. Stima is proud to have her permission to reissue these 2 fresh 80s tracks to hit the modern dancefloors.

What happens when a four-headed human drum computer meets a classical trained vilonist turned beatmaker to spend time in the studio? A beautiful lily blossoms. At least this was the case when Bokoya and FloFilz entered Atelier 21 in Aachen (a Produzentengalerie für globale Kunst) for a musical encounter with no goals set. The music that was born out of these sessions is simply amazing and we are more than happy to release them as an album under the name “Yurika” - which is a Japanese name that means “beautiful lily”.

The artwork was created by Jens Roth & Jeremias Diekmann who are responsible for almost all Bokoya artworks yet. The 19-track strong instrumental album includes one vocal track featuring Japanese singer Kan Sano.

FloFilz is one of Europe's most acclaimed Jazzbeat-producers with four albums on MPM under his belt. His last album “Close Distance” came out in 2022 an featured artists Alfa Mist, Blue Lab Beats, Jerome Thomas and Summers Sons. FloFilz is a classical trained musician who not only plays the TR 404 but also violin.

Bokoya describe themselves as a four-headed human drum machine that play improvised beat music. You can call it jazz if you like (all four members are graduated jazz musicians ) but be ready to stumble over some Dilla, Kraut Rock, Ambient or Dub in the mix. In 2022 Bokoya released their second album Hausensession on MPM , followed by a collabo album with Cologne-based producer Ginanni Brezzo (Jakarta Records) called „Minari“.

Bassmæssage is the heaviest and most consistent bass music night out of Leipzig, operating way over 30 low frequency terrapeutic events since 2007.

Hosting ventral vibrations by the likes of Mungo's Hifi, Moonshine, Rupture, Hardwax and the homies of Jahtari, maintaining strong relations within the local soundsystem culture like Zoumo and Plug Dub and pushing a ton of grass-roots DJs and visual artists, out of doubt it is a sure shot for all who like it low and want it vibrant.

2015 saw the release of the "Volume One" vinyl, blending all kinds of styles and tempi by artists who had played at a Bassmæssage. Dub met Dubstep, Footwork went along some Snailfunk Drum'n'Bass and even Skweee had a cameo. And all this happened on one plate with a warm vibe from start to finish.

It is about time to revive the label with a new vinyl compilation named "Second Drop", following the tradition of a nice roundup across various bass music tearitorries. One side pumps at uplifting 160 BPM, while the flipside is shifting down to relaxing 135 and even 120 speeds.


Nuphlo and Bukkha team up for the energetic modern halftime piece "Drip". Nuphlo might ring a bell as part of The Nasha Experience from London and Leeds, connecting asian roots with nowadays UK bass sounds. Bukkha is state-side born and has recently emigrated to Spain, from where this worldwide touring DJ machine is firing a plethora of bass music styles on renowned labels like Moonshine, System and Innamind.

DjBadshape passes the breakbeat driven torch with handsome melodies and subby kickbass on "Drift" to reflect Leipzig's well various scenes. While checking her tracks on Defrostatica and Human, one may also find artworks for Bassmæssage and more.

Sun People is closing the 160 side with the deep but dirty retro 90s jungle bit "Rise Up". Combining Techno, Footwork and UK Hardcore Breakbeats, the Graz based bass buab made it to releases on Exit, Rua and Alphacut.

Flipping sides, Dub Across Borders redefines steppers dub into the dreamy yet rolling "Bass Tree Dream". The project was found by a Copenhagen dubber when living in Colombia, fusing the rural folklore with soundsystem energy into a world-bass music. This can be heard on labels like Basscomesaveme, Translation and 45Seven and is best to be experienced in its live dubbing appearance which premiered at a Bassmæssage in 2015.

Paranoid One grabs these feelings and drops them a bit more sinister, "Glimp" manages to hide a playful 4 to the floor kick as well beyond its smooth soundscapes and percussions. As Paranoid Society these split personalities from Tallinn were delivering to Modern Urban Jazz and Alphacut already since a decade at least.

bhed finishes with the slow far-away dubsteppish "Minerva". Make sure to not only check the releases on Row and Trusik but also the freshly baked Neuburg based live act in between cosy ambient and lush bass music at the next Bassmæssage on 18th November in LeipZig!

Get ready to unleash another fine release on BCSM Records. We present you a powerful tune and version by singer Christine Salem from Reunion Islands and danish dub wizard Dub Across Borders (DAB) , combining the best of world music and dubwise business.
The characteristic, deep and powerful voice of Christine Salem first made its way to
the speakers in the Dub Across Borders studio one winter night in 2018. Through a musical friendship in Brazil, DAB was presented with a recording of one of Salem’s live concerts.

Instantly, the stripped down vocal/percussion style arrangements of the songs resonated with a raw authenticity and nerve which sparked inspiration. Shortly after, with a sort of ‘bootleg-approach’, DAB was found reworking the song “Kadjembawe” into a heavy dub version, adding several other instruments like, organ, bass, guitars, etc. Some years later when the rework had gone rounds with friends and alike, it was presented to the Swiss bass clarinet virtuous Eloi Cálame.

From his studio in Switzerland he then transcribed and recorded the horn arrangements with trumpeteer Jaronas Hoehener. After many e-mails with Christine and her management, the song being reborn into its dubby self. Then it was presented to Tino from BCSM who took charge in the endeavour to present it to the world.

Italian born, London-based soundsmith Andrea Ottomani dons his Big Hands moniker for an excursion in modern dub on the burgeoning Teeth label. Ottomani is the artist behind the label Baroque Sunburst, which he runs with Soreab, and he also forms half of jazz techno unit Ottomani Parker with Abraham Parker.

The Vulgarity Of Snow is Ottomani’s woozy, lilting soundwalk through techno, experimental electronics and scorched earth acid. The untitled tracks are less like distinct entities and give way to a larger, conjoined pair of triptychs spread out over two sides of wax. They feel like a paean to the format, which no doubt comes from Ottomani’s time spent working at one of London’s most revered record shops. As a longer, more probing piece, it’s anathema to talk about The Vulgarity Of Snow in terms of bpms and sub-genres, and arguably it owes as much to free jazz and psych-rock as it does to more leaden styles such as dub and roots. At times it pays tribute to the work of acts like Basic Channel and Random Trio, deploying dub electronics in novel ways, but it is also broader in its choice of sounds. On B2, for example, Mino Carbone, the artist’s uncle and an Italian anarchist from the same lineage as artists like Dario Fo, plays a song from that tradition. It’s not a chaotic piece, but it’s not heavily constrained.

Teeth is an ideal home for Ottomani’s freeform work, following contributions to Beat Machine, Blank Mind and Oscilla. The label is the brainchild of Jojo Mathiszig, who also runs Farringdon record shop and radio station Kindred. Slade graduate and Kindred co-founder, Scarlet Griffiths, supplies the artwork following on from her recent exhibition at Dinner Party Gallery.

Massive reworking in a killer Digi style of Jah Screechy’s 1984 classic Walk & Skank. Widely known for the SL2 sampling ‘On A Ragga Tip’. This one rerecorded and blessed by the man himself.

DJ Support:
-Sub Dub
-Outlook

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Like a complex optical illusion perceived as a banner over the sea horizon, where sight is significantly distorted and changes rapidly, unlike any other ordinary mirage, a true Fata Morgana comprises several inverted and steepled illusions, stacked on one another, showing alternating compressed and stretched sonic lands.

The term named after the Mistress of the Fairies of the Salt Sea, King Arthur's half-sister Morgan le Fay, encapsulates the hallucinatory prowess of the seduction myth, a symbol of incantation and sensorial catharsis among the pleasure and the pain meanders.

Musically the 5 track EP presents an uncharted lysergic soundscape unfolding with hallucinatory electro-glitter and gritty fat notes (Wickbush), evolving like the poisoning stages of a vividly cosmic intake- dub acid darkness (Acid Tears) conveying a magnetic grip, a true obsession which turns to be a spell (Una y Otra Vez), steadily building up a hypnotic subtle theme that takes you as high as an astral trip (Mirage) and slowly descends from the alternate consciousness state on the latter, March 3rd as a premise of the deepen future journey blazing ahead.

One year after his surprising debut, Agosta, the Catania musician-non-musician and Space Echo Records return to the point with “Reworks and Remixes”. Which from the very title disengages itself from the industrial 'album+remix album' chain and on listening reveals itself to be a record capable of moving, in total autonomy from its antecedent, on three different levels of reading. For, at its base, we would say, there is a much more stimulating idea than the simple compulsion from alternative versions, b-sides and so on.

Point 1, transfiguration. Because, contrary to the genre stereotype, the remix mode allows songs to express themselves in creative and experimental ways.

Point 2, the Rorschach Test. Because, on those songs, there is the personality, that is, the result of the cross-vision with experience, of the individual producers being measured against itself.

Point 3, the stage backdrop. That is, its ability to show a cross-section of the current electronic scene in Etna.
Agosta wanted some of the pillars of Catania's black-minded electronic scene with him and, together with them, reinterpreted songs from his first album. The result is a work that is as multifaceted, in terms of the specific weight of the artistic individualities involved, as it is homogeneous, in their idea of a sound that is as physical as it is mental and, above all, in terms of a totally Mediterranean underlying taste with which every single track is imbued.
Whether it is the pensive house of “Apple 65” or “Lady G” (Butterfly Agosta's Rework) as much as AN-AN's dub on “Varanni”, between Grace Jones and Adrian Sherwood, or Galathea's more psychedelic and twilight Trip-Hop on “Three Chestnuts”. The Shaft-esque swagger of Salvo Borrelli and Reverend James, the donwnbeat pop of “Cellars” by Go.Soul.Map. and the caress of “Hearing The Call” (Lady G In A Rainy Day Version) by The Invisible Session, in which spoken and what they once called nu jazz flirt.

Don’t Miss It!!!!

Two years after the release of his first self-titled album, DJ producer Massimo Napoli aka Galathea presents the new 'Sacred Love', in which he once again avails himself of the collaboration of his friend producer and bass player Salvo Dub, as well as a combo of respected musicians: singer Kadi Koulibaly - originally from Burkina Faso - already featured on the first album, Giulia La Rosa, author of the lyrics and performer of the title track, pianist Mario Pappalardo, percussionist Sergio Spitaleri and drummer Luciano Cantone.
'Sacred Love' is definitely a more mature, intense and profound journey than the previous album of the same name, which enhances the magical dreamlike and spiritual atmospheres of a certain African culture.
The album guides the listener along a path of multi-ethnic contaminations: "Divinité", "Ouaga" and "Koloko", well interpreted by Kadi, touch on the sacredness and mysticism of the African continent and blend well with the Spiritual Jazz sounds that have evolved in the West.
"Divinité", through the spoken word of French poet Diego Hernandez, tackles the themes of faith, life and the relationship with one's 'self', with references to French chanson productions, in which Kadi's spiritual song, at times 'Saharan', intersects and expands into cosmic space.
The title track, the first single from the album, also released on 7" (45rpm) in two versions, is an Afro-American gospel with a typically afrobeat rhythm, vaguely reminiscent of Nina Simone's 'See-Line Woman'.
North Africa is represented by "Equator", while we climb further north into the middle of the Mediterranean Sea with "Medican Blues", to land in Stromboli with the Deep Jazz of "Ginostra", whose title recalls the village of the marvellous island in the Aeolian archipelago.
Then we have the Cuban track "Caminito", a sort of Cha-Cha with a romantic piano melody (à la Chucho Valdez) well performed by maestro Mario Pappalardo; and then again "Eos", strongly Balearic with a Brazilian mood; "Impression", a dreamy journey of impact; "Sirens", already present on the first album and here reworked in a new Spiritual-Ambient version produced by Agosta.
"Sacred Love" is thus an original and musically borderless album, which expands a certain African sacred culture and naturally blends Afrobeat, Jazz and Blues atmospheres with the Balearic sounds of Mediterranean culture.
Enjoy listening!

Boomstraat 1818's newest release 'Durgan's Odyssey' is a warm and melodic Detroit techno ep, inspirited by summer visits to the Cornish coast at Glendurgan.

Kuba Sojka delivers the A1: 'Root Loop', a dj friendly peaktimer, tested on multiple crowds with an ascertained result. We are blessed to release this track on our label.

'Remain' is the A2 of the ep, in The Parallel's typical deep Detroit style: combining warm pads with classic Roland percussion.

Aztronouth is a longtime friend of the label and founder of the legendary Amsterdam based Mechanism parties. He takes care of the A3 with his track 'Tears From Detroit', a clever analog 'one take' electro recording paying his respects to the Motor City.

Acclaimed French techno veteran Taho is on B1. Well known for his classics such as Mutant Fight the Creature and Forest of Wonders. His track 'Dub Jazz' says it all: it sounds like Brendon Moeller and Saint Germain had a love baby.

On the B2 Boomstraat 1818 label owner Stroef combines his analog 808 drums with strings and pads to deliver a warm and captivating melodic Detroit track called 'Main Gate'.

Ada Kaleh, the Romanian composer and DJ, follows up on his recent releases for R&S Records and Apollo with a brand new single, ‘Unravelling’.

Featuring the vocals of Fela Kuti at his most potent, ‘Unravelling’ also includes a featured performance from Eric Leeds, the American saxophone player most noted for his work with Prince, both in the studio and as part of the Purple One’s touring band.

Ada Kaleh constructs a hypnotising and minimalistic rhythm, reminiscent of Tony Allen's drumming style, speckled with dubbed out complexions and kaleidoscopic sonics that provide the perfect bed for Fela Kuti’s distinguished vocal delivery and conscientious lyric. The illustrious jazz musician Eric Leeds lends his prowess to the main mix here, as his smoky saxophone tones glide across ‘Unravelling’ with pure professional class!

Produced by legendary dub-master/producer Mad Professor, 'Black Attack' is Mutabaruka's first album in 14 years and will be an event in reggae circles

The 14 tracks feature Mutabaruka's incisive lyrics over hard- hitting reggae rhythms from dub versions, including a tribute to reggae legend Lee "Scratch" Perry.

"Black Attack" by Mutabaruka includes the following tracks: "No Church Today", "Dub Is Black", "Black Man Black Man", "One Of Dem Days" and more

The Ganjas Meets Nairobi. The Space Rock of the Chileans together with the Dub of the Argentines. First time on vinyl celebrating 10th anniversary. Sounding laid-back and incisive at once, crisp production and rock sensibilities. The Ganjas are one of the best exponents of Chilean Space Rock and a fundamental-must-listen to understand the new Chilean psychedelic scene of the last decade. They began 25 years ago with long jam -kind -of-playing, with steady drum beats and simple basslines, but adding innovative and colorful lyrics and synths, without never losing the song structure. On the other side of the Andes, the eclectic by nature Nairobi laid the groundwork for a new style in Dub. Since 2009 they had released 3 studio albums and worked with the best legendary Dub producers: Mad Professor, Lee “Scratch” Perry and Sly & Robbie. Touring the same year 2014 in Chile they coincided with The Ganjas at BYM Studios for an unforgettable session that brought this recording, that boasts an intricate rhythm, sumptuous keyboards, and soaring guitars offering elastic grooves, disembodied vocals, and deep bass lines. The album itself revisits the past while also looking to the future. The songs are particularly creative, with the Bob Marley & The Wailers cover ‘The Heathen’ totally revitalized and other passages like ‘Pastor’ and ‘Eagle & Snake’ that travel through an incredible mix of styles, brilliantly blending Trip-Hop, Dub FXs from soundboard, a Brian Jones-esque style slide guitar, and songs like ‘Soul Salvation’ that brings an steady reggae beat with genius saxophones lines from Ignacio Czornogas (King Krule). Mastered by Cem Oral at Jamming Masters (Berlin). AVAILABLE 300 BLACK VINYLS. For fans of: Primal Scream (Echo Dek), Sumo, Dub Syndicate-Murder Tone, Upsetters, Peaking Lights, Peter Tosh-Mama Africa.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

REISSUE ** Black Vinyl ** 500 Copies // The AK47's or the Tottenham AK47's formed in the late 80's / early 90's in North London. They turned up on the London squatting gig scene fully formed and ready to go, fusing punk, ska and reggae with a strong and simple political, socio-anarchist message. The band were instantly popular in London and sat very much next to Radical Dance Faction, Back to the Planet and Culture Shock. Their one and only release was the album "Don't call me Vanilla" which was originally released in 1991 by Rugger Bugger Discs. The album was recorded and produced at The Refuge studio in Reading by Jim Warren. Built around a solid dub-punk backdrop with some atmospheric flute squalls and FX's weaving in and out of the mix while lyrically remaining true to their anarcho roots. Over the years the album's legacy has grown and yet has never been reissued. Finally 32 years after its release the band, Sean from Rugger Bugger and Not Lost reissue this gem in an exact replica. No coloured vinyl - just black vinyl with the same Lyric Insert. This reissue has been remastered from the original tapes.

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

Swaying duby synthwave vibe slapped by the 808 snare one this very limited one sided 7 inches w/ the track Stop By from french duo Froid Dub.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

Soliton maximizes the compact format by further illuminating lesser-traveled paths. Contemplation and exploration weave harmoniously through five mysterious tracks. Influenced by a wide range of styles and sounds, such as Japanese ambient, the muted dissonance of Pharoah Sanders, and the chilly dub of the Scape catalog, Soliton evokes visions of lonely night drives punctuated by bright moments of bliss. The Calque EP from January 2023 saw them pursuing the minimal electronic side of their work even further. The opening track, "Kottbusser Tor,” showcases a conspicuous absence of the processed guitars that characterize most of their work, and instead explores sequenced filters, tape delays and analog synth patterns for eight minutes. On "Ammosel", they dive directly into dubby soundscapes, with crackling electronics and deep basslines, while "Kiyosumi" and "Fade Into Air" pay a visit to more familiar ambient territory. A darker undercurrent pervades on this EP, but one that goes particularly well with the coldest of seasons and its frosty air. The duo, consisting of Jason Kolb (Michigan, US) and Jonas Munk (Denmark) started working together in 2006, sending each other tracks across the Atlantic, eventually resulting in a full-length release on Felte in 2012. What started out as a side project to their respective main projects (Auburn Lull and Manual) have slowly become the main activity for both artists, now with a total of four full-lengths under their belt. Their music has also evolved and matured over the years, reaching a level of perfection that’s only granted producers who've been in the game for decades. Billow Observatory have by now established themselves as purveyors of highly refined ambient music and the Soliton EP sees them elegantly blend new and old, electronic and organic, into a gently drifting, enveloping whole. “.. mind drenching sunrises, glittering constellations, and sailing clouds, richly furnishing the familiar sense of hovering over vast natural orders that you're also inside. – Pitchfork // “So the world it inhabits is essentially that one between states, simulating a quietly vibrant ecology of sub-aquatic bass rumbles, washed out expanses of mid-range swirl and keening top end whose elusive colours seem to fade and coruscate in the low light. Lovely

- New repress Edition - Pressed on Metallic Silver Wax - LP housed in an expanded gatefold jacket - Includes lyric insert and repro archival newspaper fold-out // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought.

This is TEK2 Production Records third vinyl release with Winston covering the classic Channel One recording originally recorded by Jamaican harmony group Wailing Soul entitled Very Well

La Rama is back on wax with two original compositions from local producer/DJ Rig Thrall. We first linked up with the Rakya crew member at the shop and soon after released his music on a limited run 10” named ‘Exit 19’ via our La Rama Dubs sub label. We kept in touch, and when an assortment of unreleased material caught our ears, we quickly jumped on the opportunity to get working on this 4th record on our label.

‘Broken Guru’ drones and grooves you through the cavernous depths, out in to the open, where the clouds part and a voice reaffirms that you are on the right path. From here we dive back into the depths, with the full confidence that this is the right path.

Thanks to two Roman legends, we have variations on the theme of ‘Broken Guru’. Marco Passarani delivers the masterful hyper dance floor club dub with his many years of experience clearly on display… play it out and you will see that this is some kind of sorcery. In speaking of magic, we are honoured to have the one and only Lory D serve us up a bass heavy re-interpretation, recorded in one pass through his live rig and edited to perfection.

‘Acidly Dose’ is the second original from Rig Thrall, an acid infused beat of the highest order with all the necessary elements to give the room a communal high.

Out on the 6th of January 2024, mastered by Nik Kozub, manufactured and distributed by La Rama Records. Much love to all the distros, shops, DJs, radio players, jam organizers, rave goers… may these tunes add to the life of your party :-)

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.
With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.
The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.
Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

2001, Yorkshire, England. SUBDUB is in full strength shaking down Leeds' city walls with regular parties, community events & sound system sessions. Active since 1998, the devoted crew push UK Dub music forward, inviting key players of the scene to play at their events powered by the mighty Iration Steppas sound system. Session after session, the SUBDUB imprint nurtures a loyal community of skankers while building close ties top artists in the field. A solid reputation that resonates amongst dub-heads around the globe. After 3 years of existence and having already put out 3 singles on their Tandori Space Records label, the idea of putting out a SUBDUB compilation album sparks. Producers get involved and the ‘Digital Africa’ project takes shape! But when the test presses finally arrive, the difficult financial situation and bleak state of the vinyl market at the time force the project to get shelved…

22 years on, while on a pilgrimage to SUBDUB and stopover at the Tribe Records HQ, the Dubquake team see the dusty test presses emerge from the record store vaults and get a taste of the incredible music through the shop's speakers… Unreleased & exclusive tracks by Iration Steppas, Jah Warrior, D.BO General, Vibronics, The Disciples, Tena Stelin, Nucleus Roots, The Bush Chemists & Freedom Masses. 12 undiluted UK Dub cuts from the 90s pressed on to 2x12” vinyl discs, with a 13th bonus digital track. Pure sound system business, raw dubs inna vanguard style!

‘Digital Africa’ is finally coming out on Dubquake Records in time to celebrate SUBDUB’s 25th birthday. A forgotten compilation full of history, curated by Simon Scott & Mark Iration. Guaranteed to bring back sweet memories to veterans of the dance, a great piece of dub music education for the rest of us!

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

RAWAX presents one again the man who is the driving force fo the label.

"This is an album to treasure - it'll surprise you at every turn" Joel McIver (Record
Collector) One of the most influential bands to emerge from the UK's festival
scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips,
incredible rave grooves & psychedelic progressive rock. It's an open exploration
of music & the soul. For over 30 years, the Ozrics have experienced the
vicissitudes of the rock & roll life. The band has flourished through a number of
line- up changes, spawned several side projects, created their own record label,
scored a hit record & sold over a million albums world-wide. And yet, the basic
motivation behind the band's existence has never wavered.Their signature blend
of hippy aesthetics & raver electronics with spiraling guitars, textured waves of
keyboard & midi samplers & super- groovy bass & drum rhythms continue to
delight fans across the world to this day.Originally released in September 1999,
'Waterfall Cities' was a giant leap forward for the band, taking a more obvious
step into electronica, whilst still managing to retain their unique sound. An
explosion of keyboards, acid squelches & blistering guitar passages, the musical
& technical brilliance of the Ozrics comes to the fore in strange & unexpected
ways on this album.'Waterfall Cities' - Remastered by Ed Wynne & available on
Double LP via Kscope.

Four dazzling, extended engagements with mbalax master-drumming.


The contribution from Holy Tongue is chase-the-devil steppers — thumping, clangorous, reverberating — super-charged with energy and atmosphere. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. Thrillingly, the two dubs are increasingly deranged.

Adjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. The music is poised, mindful, tentative; but also limber, fleet, and magical.

Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. Both excursions are wide-open, beautiful, epic, and propulsive — the first mix is banging and headlong, the second more syncopated and serpentine — teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics.

The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. This Wolof phrase for the inner-court of a home — a meeting-place — doubles here as a metaphor for inner space on a metaphysical level; and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.

Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janice Joplin that now gets a very special and very limited edition pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb.

At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.

This expansive double pack from Silentes finds each side of vinyl taken up by one long, ever-evolving piece of music based around one original. Gianluca Favaron & Stefano Gentile go first with their take on 'Landslide,' which goes from whirring machines sounds to brain cleansing sine waves and found sound abstraction. Dub techno don Rod Modell explores emptiness on 'Landslide' (Reworked) and Carl Michael Von Hausswolf's take is an eerie one with scratchy textures and filtered synth meanderings. Rod Modell then closes out with another rework of his own remix that will leave you adrift in space.

Red Marbled Vinyl

Berlin, Funkhaus based electronic record label and music studio Bright Sounds enters their 10th year of business in 2023. And this marks the perfect occasion to team up with another long going techno institution, Skudge. Starting as a record label curated by two Swedish gearheads releasing their own studio jams in the late 00's, Elias Landberg is now recognized as one of the most steady techno producers of modern times.

Volume 4 of Krust's career spanning collection is here, boasting some serious deep dives into his archives alongside some serious classics that every DJ and listener should own! Once again, this collection shows the breadth of Krust's anachronistic style and original flavour. Often imitated, but never bettered, this latest instalment once again shows it should be done. Truly original and engaging music from the streets of Bristol.

'Irrational Numbers' is a meticulously curated collection of five parts, available on both vinyl and digital formats. The compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 4 offers up the dubplate only mix of 'Asian Love Dance' for example, the anthemic 'Jazz Note II' for the heads and futuristic roller '21st Century' as well the groundbreaking 'Coded Language' featuring the stellar vocal talents of NYC poet and MC Saul Williams.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

Repress!

We were planning the release of the NUfrequency new single when the terrible news of the sudden death of Cristiano Massera, one half of the duo, has left us without breath. We are still shocked, because Cristiano was not only a great musician and producer but a friend and a wonderful person. The production of the album 'Connected', and songs such as 'Go That Deep' and 'Fallen Hero' will remain in our hearts forever, because the music he produced with NUfrequency is timeless !
'Promised' features again the beautiful and touching vocals of the legendary Shara Nelson, A soul singer with a voice from heaven, who achieved the success as member of British dance collective and trip-hop pioneers Massive Attack. Shara wrote and sung one of the biggest and most memorable anthems, and the group's biggest hit, 'Unfinished Sympathy' and also co-wrote several other songs on their groundbreaking debut album 'Blue Lines'.
Recorded in 2010, 'Promised' gets a vinyl only release, with remixes from Adesse Versions and Charles Webster.The mysterious Adesse Versions, hot on the heels of his releases on Prime Numbers and Make Love In Public Places, delivers a strong vocal version, in his own inimitable style. Charles Webster, works out a super dubby version bringing back the gold days of deep house music. A precious and special release ! Rest in peace Cristiano.

Repress!

1985 Music presents the first part of its brand new V/A series - Codex. Celebrating the best in 140/dubstep this 4 track EP brings tracks from Hijinx, Epoch, Ebb, and label boss Alix Perez.

Sixteen track double LP collecting the North London drone pop band's 7" singles, one-offs and compilation tracks spanning the first 14 years of the group's existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band's current home, Where It's At Is Where You Are.