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PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

Post-Punk (Originally Called New Musick) Is A Broad Musical Genre That Emerged In 1977 In The Wake Of Punk Rock. Post-Punk Musicians Moved Away From Punk's Traditional Elements And Raw Simplicity, Adopting Instead A Broader, More Experimental Approach That Included A Variety Of Avant-Garde Sensibilities And Non-Rock Influences. Inspired By Punk's Energy And DIY Ethos, But Determined To Break With Rock Clichés, Artists Experimented With Styles Such As Funk, Electronic Music, Jazz And Dance Music; Dub And Disco Production Techniques; And Ideas From Art And Politics, Including Critical Theory, Modernist Art, Film And Literature.

These Communities Have Produced Independent Record Labels, Visual Art, Multimedia Performances And Fanzines. These Three Compilations Are By No Means 'Best Of' Or Collections Of Chart Hits. They Are Compilations That Endeavour (And We Think They Do Well) To Take A Wide-Ranging Look At The UK And American Post-Punk Scene In The Years From 1978 To 1984, But Here Almost Everything Stops In 1981, Giving Space To Bands And Artists That Almost Always Didn't Make It Beyond The 45 Rpm Mark. A Representation Of The True 'Outside Of Everything' Of The Era.

Bacao Rhythm & Steel Band, die mysteriöse Steel Pan Band aus Hamburg, hat sich weltweit einen Kultstatus erspielt. Mit einer Reihe von klassischen 7" Singles und drei hochgelobten Alben haben sie die Messlatte für sich selbst hoch gelegt, die sie mit diesem neuen Werk noch weiter nach oben schieben wollen. Auf ihrem vierten Album BRSB sind Bacao zurück mit mehr vom Gleichen, aber mehr vom Gleichen ist bei ihnen von Natur aus anders. Sie covern Songs aus verschiedenen Genres, von Megahits bis hin zu Underground-Songs, und machen sie sich mit ihrer einzigartigen Herangehensweise an die traditionellen Steel Pans aus Trinidad und Tobago zu eigen. Während ein Teil des Reizes eines neuen Bacao Rhythm & Steel Band-Albums darin besteht, herauszufinden, welche Songs sie covern, ist es ebenso faszinierend zu sehen, welche originellen Melodien sie ausgeheckt haben – denn dieses Album ist ebenso voller herausragender Originale. Der Opener des Albums, "In The Crosshairs", ist ein rauer und harter Midtempo-Kopfnicker, während "Grilled" und "Treasure Quest" das Tempo mit starken afrikanischen Funk-Einflüssen anziehen. Bacao geht mit "Hazy Memories", einem basslastigen Slowburner, der zwischen Hypnose und Hype wandelt, in die Tiefe. Diese Originale sind ein Beweis dafür, dass der Begriff "Coverband" ein Schuh ist, der niemals zu Bacao passen könnte. Und doch gibt es auch dieses Mal in der Tradition der Steel-Pan-Musik eine Reihe Coverversionen. Der große West Coast Hip Hop Einfluss wird offenbar mit Covers von Game & 50 Cent's "How We Do", Dr. Dre & Snoop Dogg's "Nuthin But A G Thang" und Tupac's "Got My Mind Made Up”, die alle eine neue Energie bekommen und sich für die BRSB Stahlbehandlung eignen. Mit ihrem Covern von Claudja Barrys Disco-Klassiker "Love For The Sake Of Love", die sie in eine synchronisierte Version umwandeln und sogar den Titel in "Love For The Sake Of Dub" ändern, fügen Bacao ihrem Lebenslauf einen weiteren zertifizierten Dance-Floor-Filler hinzu. Aus dem Bereich der zeitgenössischen Smash-Hits covern sie Drakes "Hotline Bling" und "Love$ick" von Mura Masa & A$AP Rocky. Dann gehen sie mit dem "Stranger Things Theme" einen sehr unerwarteten Weg, indem sie den Synthie-lastigen Titelsong der Hit-Show nehmen und ihm einen hypnotischeren Ton geben als dem Original. Wenn BRSB fertig ist, hat die Bacao Rhythm & Steel Band den Hörer auf eine Reise mitgenommen, die eine Vielzahl von Energien, Tempi und Stimmungen umfasst, aber alles unter einem Dach hält.

Matasuna präsentiert die erste 7" der baskischen Soulcombo Bidaide aus Barcelona, die sich auf cineastische, instrumentale Soul-Funk-Grooves mit DIY-Mentalität spezialisiert hat. Soul, Funk, Psychedelic Rock, Reggae-Dub und Library-Musik verschmelzen in Bidaides Aufnahmen nahtlos zu einem einzigartigen Sound, gefühlvoll und harmonisch, mit mitreissenden perkussiven Intermezzos.

First official vinyl reissue of this sought-after psychedelic folk-rock / Americana / SSW album from 1976.

Major Arcana was a group led by counter-culture Milwaukee icon JIM Spencer, featuring a revolving cast of musicians / collaborators. The core of the band was Jim Spencer (guitar, vocals); Randall Dubis (electric guitar); Michael Burdecki (bass, slide guitar) and Jim Kitchen (percussion, harmonica). They were helped in the studio by some friends / musicians like Sigmund Snopek III and Barry Patton among many others.

Released on Jim Spencer’s own private label (A Major Label, home also to Anonymous of “Inside The Shadow” fame), the album opens with the terrific psych-folk of “Western Wind” and closes with an acid-folk rendition of “Greensleeves”. In between, you’ll also find some blues rock, SSW ballads, jazzy bits…

File next to groups like Pearls Before Swine or Bermuda Triangle.

Kernig, handgemacht und ehrlich – Attribute die den Folk Rock Sound von Rauhbein am besten beschreiben. Mit dem Debutalbum „STEH WIEDER AUF“ weckt Rauhbein die Lust am Leben, denn diese Lieder hat das Leben geschrieben. Songs, die Mut und Lebensfreude vermitteln, gerade da, wo man es nicht erwartet. Egal worum es in den Songs geht, um den Knüppel, den uns das Leben zwischen die Beine wirft, um das Umschiffen von Klippen, um Höhen und Tiefen, um Freud oder Leid: Am Ende erzählen sie doch alle von der Liebe zum Leben und der alles tragenden Kraft, der positiven Energie.

Kernig, handgemacht und ehrlich – Attribute die den Folk Rock Sound von Rauhbein am besten beschreiben. Mit dem Debutalbum „STEH WIEDER AUF“ weckt Rauhbein die Lust am Leben, denn diese Lieder hat das Leben geschrieben. Songs, die Mut und Lebensfreude vermitteln, gerade da, wo man es nicht erwartet. Egal worum es in den Songs geht, um den Knüppel, den uns das Leben zwischen die Beine wirft, um das Umschiffen von Klippen, um Höhen und Tiefen, um Freud oder Leid: Am Ende erzählen sie doch alle von der Liebe zum Leben und der alles tragenden Kraft, der positiven Energie.

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!

* This release resurrects the original mixes alongside the iconic remixes from the '90s, encapsulating a significant chapter in the Jungle movement. This landmark release not only signifies a pivotal era in Jungle music but also marks the inaugural release on Philly Blunt Records, setting a high bar for the label right from the outset.

* In the early '90s, the jungle scene was set ablaze with 'Burial', a track crafted in Dillinja's home studio under the collaborative genius of Jumpin Jack Frost, operating under the moniker Leviticus. The original mixes, Madamoselle and Lovers Rock, resonated with rare groove and reggae influences that propelled the track to become an anthem at the Notting Hill Carnival, eventually catching the ear of Pete Tong who facilitated a mainstream release on FFRR the following year.

* The remixes encapsulate the collaborative spirit of the era, with Dillinja, Roni Size, and DJ Krust teaming up for the 'Combination Mix', and Ray Keith lending his touch to the 'Tearing Terrorist Mix'. Released in the '90s post the FFRR signing, these remixes added a fresh narrative to the 'Burial' story.

* Reflecting on the creation of 'Burial', Jumpin Jack Frost recalls, "I went to Dillinja's house with the two records, and that was it. We got a beat running and sampled the Mademoiselle "oooh" part first... it just made itself. I was the producer and Dillinja was the engineer... After hearing it a hundred times while we were making it, I thought it was good but I didn't quite know if it was good enough to start playing to the boys. First of all, I made a dubplate with my name in it so I could test it playing it out; I think I played it at Roast and everyone went nuts."

* Bryan Gee, reflecting on the track's impact, mentions, "If you're talking top ten jungle tracks then 'Burial' has got to be in there. You can play it to anyone outside of the jungle scene and they know it."

* This gold vinyl repress is a journey back to the roots of Jungle, offering a tangible piece of Drum & Bass history for enthusiasts and new listeners alike. The profound impact of 'Burial' transcended the Jungle scene, finding resonance across various music genres and remains a testament to the genre's versatility and broad appeal.

* A nostalgic journey and a tangible piece of Drum & Bass history, pre-order now to secure your copy of this genre defining release

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

Hi-NRG synth pioneer Patrick Cowley moved away from his usual robotic steeliness on 1982’s “Primitive World,” drawing instead on the groove rock of early 1970s gay discos. It’s a percussion track influenced by Baba- tunde Olatunji’s 1959 hit “Jin-Go-Lo-Ba,” made more famous by Santana’s 1969 cover. Cowley updated the sound for the 1980s with electronics and drum machines but kept the playful attitude of the original. Two choirs of voices chant back and forth to each other, giving Cowley a chance to include many of his friends from the San Francisco dance music community.

This has been DJ Hifi Sean’s year, with a best-selling album with David McAlmont , count- less live gigs and high-profile remixes to his name. His interpretation of Cowley’s “Primitive World” can be counted among his best, bringing an intense TB-303 acid house vibe that perfectly complements Cowley’s weird electronic blips and bleeps. The effect is a disorienting mix of psychedelic 70’s groove, 80s synth pop, and 90s tacky house vibes. “Primitive World,” is one of the brilliant standouts on Cowley’s final record, Mind Warp, the so-called “death album” written as his health was rapidly sinking. Hifi Sean’s new remixes pay tribute to Cowley’s genius while fusing the track even more strongly to dance music’s electronic future.

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).

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

In this Bukky's latest offering, he has assembled some of his favourite DJs and producers including his old comp Rende Gillies Peterson, Orlando Voorn, Lesley Lawrence. His dear friend the godfather of Dub Dennis Bovell. Featuring original material compositions:

OBEDUN (Sweet SOUP) - Mixed by Orlando Voorn Inspired by his cultural background Bukky goes in search of the cuisine traditions of his mother land Nigeria. He sings praises of his favourite traditional African cuisines. Sang in his native dialect Yoruba language.

GENRE JAM – Afrobeat recently became a recognised genre. Whereby the unique percussion driven with soulful guitar hook lines and melodic piano phrases can be incorporated any genre as a version.

UNISEX DILENMA - it's just light-hearted, tongue in cheek commentary on the interplay between men and women and some of the stereotypical ways we see relationships, it's nuanced and that's why it's called Unisex Dilemma. Meaning people shouldn't take the song too literally.

ANNARKEY – Mixed by the Godfather of Dub Dennis Bovell. This a great example 0f Genre Jam whereby Rock or Reggae can be intertwined with Afrobeat. Especially from the Latin Rhythms which are all influenced by Afrobeat.

SUMMER BREEZE – Mixed by Lesley Lawrence is Jazzy instrumental track. It draws from Bukky's past recording and associations with the giants of Jazz i.e. Clifford Jarvis, Bob Ra Kalan Moses, and playing with Tony Allen who is heavily influenced Art Blackey and Max Roach.

a 01: Obedun (Sweet Soup) Orlando Voorn Mix

All tracks licensed from Makkum Records | Produced and mixed by remix artists | Mastering by Detlef Funder, Paraschall Studios Düsseldorf | Artwork by Darko Kujundžic

It's the kind of project that brings the old mad scientist cliché out for an airing, "It's insane, but it just might work." The insanity in this case being a motley cast that features Andy Moor (The Ex, Amsterdam), Desmond Denker (Cologne), Phanton (Cologne), Yürke (Düsseldorf), Dubby King Knarf (Knarf Rellöm, Hamburg), Istari Lasterfahrer (Hamburg), Begritty (Cologne) laying down their versions of tracks from the demento-a-go-go-electro-pop-rock-mono-mind known as Zea.

How could we resist the spasmodic schizoid psychedelic menace of that devilish Dutch juggernaut called Zea. This bastardised twelve inch slab of wax has Zea sonically re-assessed, dissected and twisted in side out. And it had to happen, it had to be made.

"Standing up I forgot what came to mind when I was lying on the kitchen floor. Standing up I forgot what came to mind, something I tried to remember before." It's the punky pop intro of the song 'Staande ben ik vergeten wat ik dacht toen ik lag', the Dutch translation of the first sentence of the song that provided the title for this collection of remixes. Zea, a.k.a. Arnold de Boer, a musician who skips sitting down, who either jumps or lies on the floor fumbling with a dictaphone trying to remember the ideas that just came to mind jumping around from the couch straight into the kitchen, trying to write the next song while cooking spicy food that makes his head explode. It's all inthere, everyone is in there; shrinking people, growing people, dead people. And all "Sub specie ludens" (from the perspective of human play).

Comprising accomplished musicians Roy Bar-Tour, Atzmon Avrahami and Adam Yodfat, Les Dynamites built themselves a strong following for their fresh blend of Mediterranean and classic surf rock with Balkan and Yemini folk, catching the attention of Middle Eastern groove connoisseurs Batov Record. Their debut single for the label, “Pop Oud #2”, packed enough punch, and funk, for both psych fans and break dancers. Backed by a dubwise flip by digging pioneers Radio Trip, it received support from the likes of Juno, Monolith Cocktail and Worldwide FM.

“Uzi Kinrot” takes its name from guitarists Uri Kinrot and Uzi Feinerman of Boom Pam, pioneers of today’s resurgence in Middle Eastern surf rock. Ray Bar-Tour riffs like a Klezmer-playing Dick Dale over a Balkan sousaphone bass lines and snappy drum rhythms. Towards the end, Yemen Yehudith adds a special touch of traditional wailing, raising the excitement by another notch.

Recorded, co-arranged, produced, mixed and mastered by Uri “MixMonster” Wertheim of famed funk band, The Apples, and obscure sample scientists, RadioTrip. On “Uzi Kinrot” and “Sea Gull”, the group pay tribute to the Mediterranean surf heroes who inspired them most. They continue from where the seventies funk leaning “Pop Oud #2” left off, going deeper, and reuniting the classic Mediterranean and American surf sounds with a fresh perspective, destined to earn themselves an even greater following.

In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created subterranean Hive of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world. The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album. Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Inspiration flowed into Hive from all dimensions, with the band’s sphere of influence expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist. Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth. Step inside Hive, if you dare

The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro-disco and soul.

The EP follows up 2022’s Get It As You Move EP, blending layers of vocal harmonies and synth washes with a rock-solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Durrington’s Digital Afrika project.

Lead single ‘Hold You Tonight’ features Nigerian disco icon Steve Monite (best known for his mega hit ‘Only You’), revisiting his 80s origins with a dancefloor-ready slice of dubbed out boogie. ‘Rich Man Poor Man’ (featuring Ghana’s very own ROB) slows down the tempo and brings the highlife influence to the fore, while ‘Sometimes It Rains’ brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili.

Champagne Dub is a collective of selected artists who come together to practice psychedelic dub rituals. Lysergic weather front top-loaded via betamax"s hippocampus trapdoor melding Catto"s studio into a rainbow of textures, formless places, and emotional sonics awash with resonant poy-rhythms. Champagne Dub is a mission in space-dub whose "crew" took a few too many wrong turns. "We are here to bring raw metamorphic rock-rituals that escaped our minds."