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Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

UVB is back with a new label project injecting some soul from his early influences back into the music.

SHIV is here !

KAU (previously KAU trio.) is an instrumental trio based in Brussels. Representing various European backgrounds, the Belgian capital and melting pot proves to be a never ending source of inspiration for the band. Taking influences from jazz, groove and dance music, their aim is simple but straightforward: to make your heads bob. The formula they use to do so has been the same since their early days: improvisation, never ending jam sessions and an open-mindedness towards various genres and styles. This gives their music an organic and vibrant feel. Furthermore, the three boys' long-lasting friendship is at the heart of it all, always relying on what brings them together: their love for music. The KAU cycle is bound to repeat itself and to birth something new - over and over again.

"The Cycle Repeats" is KAU's debut album, due on September 22 on SDBAN Ultra, the home of ECHT!, Black Flower, Glass Museum, STUFF. and more. It represents a milestone in the band's musical journey: it's their firm decision to present a strong and unified trio playing music that stands out through the combination of 80's synths, acoustic drums and electric bass. Moreover, the album succeeds in capturing the energy of their infectious and legendary live shows.

Highlights are album opener "Kampala", which has a throbbing bassline, jazzy synths and heavily modified arpeggiators at its core. The album's first single "Little Steps" starts with a strong hip hop groove, morphing into Herbie Hancock-style chords. "Amulet" is inspired by breakbeats, fast paced grooves and pentatonic bass lines. Both "Kautokeino" and "Alaska" are an invitation to travel to the utmost remote places of this earth, using intense sequencing and suffocating subbasses into an epic finish, probably demonstrating the trio in its most sincere form.

In short: with André Breidlid on drums, Matteo Genovese on bass and Jan Janzen on synths, KAU are a trio of childhood friends with a pan-European identity, whose music reflects the city they grew up in: unapologetic, richly diverse and with a spontaneous groove underlining it all. With their new album "The Cycle Repeats" they directly aim for your dancing shoes and souls.

It’s long believed that dreams are a way for our subconscious and conscious selves to interact. A chance meeting between cognitive thought and the expanse of imagination. Our dreams are often half remembered upon waking, leaving bits and shards of the story left to be pieced together. That process of pulling together fragments feels infused within Austin’s Neckbolt, a band with a radiant understanding of pairing disparate elements together to create something magnificent. Introduced back in 2021 with Midwestern Drawl, their self-released debut album, the duo of James Roo and Benjamin Krause formed the project with a specific energy and an alien sound. At its core, that record laid the blueprint for the band, a forward thinking mix of caustic noise rock and vivid psychedelic pop, combining to create something wild yet ingenious, reshaping common genre ideals.

At some point between the recording and release of their debut, Neckbolt expanded, reverse engineering their sound to form a live band that could pull off the music of their recordings. The line-up grew from a duo to the quintet, with Roo (vocals) and Krause (guitar) joined by longtime friends and collaborators, Bill Indelicato (bass), Brent Hodge (drums), and Kilyn Massey (guitar), forming an instant chemistry apparent in their earliest of live shows. With members split between Austin and Oklahoma City, the band adapted their approach to songwriting, opting to record in bits and pieces as they wrote, bouncing ideas back and forth, watching songs take shape in ways that none of the members had intended, but all were quick to embrace. Neckbolt are a freaky band and their second album, Dream Dump, seizes the opportunity to dial up the strange in their own vibrant way.

If youʼre a fan of Daptone Records, chances are youʼve read or heard the name Victor Axelrod, and even if you havenʼt, youʼve heard music from his hand. As a producer, arranger, recording and mixing engineer, and keyboardist, his creativity has extended across more than two decades of the labelʼs releases, even dating to its prehistory with Desco Records.

If You Ask Me To..., the first LP under his name for the label, is a collection of singles released between 2007-2023 as well as unreleased tracks from Sugar Minott and Binky Griptite. The genesis of which came via an 11th hour request from Daptone for a Sharon Jones remix (2007) that resulted in the reggae version of “How Long Do I Have To Wait For You?” found here.

This opened the door to additional explorations of reggae/soul synergies within the catalog, affirming the musical and cultural link between Daptoneʼs core soul sound and Axelrodʼs passion for Jamaican music. While previous projects like Ticklah Vs. Axelrod and Roots Combination (produced under the alias Ticklah) were inspired by the Jamaica of the 1970s and 80s, this set specifically channels an earlier period in the 1960s when Jamaica was both strikingly original in its continuum of genres but also closely and empathetically attuned to Black American music.

Through Axelrodʼs exceptional taste and the notable contributions of guitarist To

A/B-Side effect green/yellow/purple vinyl. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again."

Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!

Sly & The Family Stone’s Anthology is an essential collection for any fan of funk, soul, or R&B music. The 1981 compilation album features the band’s greatest hits, including US Billboard chart-topping “Family Affair”, “Everyday People” & “Thank You (Falettinme Be Mice Elf Agin)”.



The music of Sly & The Family Stone has influenced countless artists over the years and this anthology is a testament to their enduring legacy. A compilation album full of infectious grooves, catchy hooks and powerful messages of unity and positivity.



Anthology spans the band’s career, from their early recordings in the mid-1960s to their later hits in the 1970s. This 2LP is available as a limited edition of 3000 individually numbered copies on pink coloured vinyl, housed in a gatefold sleeve

We walked the earliest edge of Sunday, winter dark; streets lined up with standstill cars,

silver, grey, and black, and white; while the ever-distant sun, then further still, was slowly
breaking into shining. The town was quiet, gleaming; the rows of tenements - awash with sky.

And we rarely chanced upon a person, save the stocking-wrapped, shadows without bodies,
and that nude and mouthless one. We turned into a narrow lane past the power station,

the mute red lights of chimneys looking down at us. We reached the concrete halfpipe
of the dried-out canalside. And listened out for it. To disappear.

For that.

Flint, Michigan-based rapped MC Breed and his crew DFC (Da Funk Clan aka Dope Flint Connection) put the Midwest on the map in 1991 with the release of their self-titled debut album, an underrated gem of the early 90s. The lead single, "Ain't No Future in Yo' Frontin'" with a boomin’ west coast sound would get radio play across the country and video rotation on YO! MTV Raps, BET’s Rap City, and Ralph McDaniels' Video Music Box. The album’s second single “Just Kickin’ It” with MC Breed’s laid-back vocal style over a funky groove landed in the top 10 on the Hot Rap Singles Chart. Tracks like “Underground Slang” have an 80s electro vibe and “Better Terms” has Breed rapping a little faster over a Bomb Squad influenced beat with his DJ on the cut. MC Breed would go on to release another 11 albums and collaborated with artists such as 2Pac on "Gotta Get Mine" and Too $hortís "Gettin It” as well as features with Slum Village, Pimp C, Kurupt, Erick Sermon, and The D.O.C. among others. Breed passed away in 2008 from kidney failure, but his legacy lives on having influenced other Midwest artists including Eminem, Proof, D12, Common, and Slum Village. Out of print on vinyl since 2018, Get On Down is bringing back this Midwest 90s classic on limited edition colored vinyl.

Merging doom, pychedelic sludge, grind, black metal and mighty mighty riffs to create a sound wholly their own, INTER ARMA deliver their Relapse debut Sky Burial, easily an early contender for heavy music record of the year. Emerging from the ever-fertile metal breeding grounds of Richmond, Virginia, INTER ARMA have spent the last few years touring relentlessly, perfecting a hypnotically punishing live show. Sky Burial brings that focus onto record, and what a record it is. Truly heavy in all senses of the word, Sky Burial is a spiritually intense journey through the halls of extreme metal. INTER ARMA have made a decisively loud proclamation with Sky Burial---this is a band that could very well be the next crown-holder in a regal line of iconic Relapse bands. Includes Digital Download

If the Corona pandemic and the accompanying concert bans have at least one good thing going for them, it's the extra time musicians have to write songs and live out their creativity. This circumstance was also the driving force for the SAMURAI PIZZA CATS, who come from the Electric Callboy environment. Frontman Sebastian Fischer was behind the microphone in their predecessor band Her Smile In Grief, whose line-up also included Daniel "Danskimo" Haniß, who is now celebrating success as guitarist, songwriter and producer of Electric Callboy. The contact between the two never broke off and so Daniel also produced Sebastian's later band Fall Of Gaia in recent years, whose former drummer and multi-instrumentalist Stefan Buchwald is also involved in this new project - family business from downtown Castrop Rauxel! So while Stefan contributes the music, Sebastian writes the lyrics and Daniel, as a creatively involved producer, ensures a well-rounded overall result. Okay, before we try your patience any further, let's talk about the elephant in the room: the band name. The SAMURAI PIZZA CATS have named themselves after a Japanese anime series from the early nineties. Why? Stupid question! Of course, because they are fearless warriors on their instruments, love to eat pizza and like cats! And maybe a little bit because they have soft spots for anime and silly band names - but only maybe. Rumour also has it that "Banzai! Smack! Meow!" is an onomatopoeic description of the band's sound.

Philadelphia's DEVIL MASTER stake their claim as one of the most venomous, twisted entities in the underground with their hellish debut, Satan Spits on Children of Light. The album, recorded, mixed, and mastered by Arthur Rizk (POWER TRIP, MAMMOTH GRINDER, OUTER HEAVEN, and more,) rattles the very gates of hell with a vile dose of black metal-infused punk mayhem. Commanding the steel of VENOM, the fury of BATHORY's earliest years, and the raw, uncompromising nature of the notorious GISM, Satan Spits on Children of Light sees DEVIL MASTER emerge from the grave and reach new blasphemous heights. Give in to the Satanic panic and obey your DEVIL MASTER!

Some Kind Of Forever is Euglossine's brand new full-length, out March 2022 on sound as language. Where previous Euglossine releases were a complex balance of jazz fusion, sound design, and computer music, Some Kind Of Forever sees the artist pulling back and searching for simplicity. On this album, Whitehill immerses himself in the light and delicate. Some Kind Of Forever is Whitehill's most refined and restrained work to date. Influenced by the early ECM catalog, decades of groovy/weird library music, and domestic golden-hued psychedelia, Some Kind Of Forever's subtle, meditative jazz floats by ever so softly. The album's rich and open instrumentals are pristinely constructed yet always playful. Whitehill moves deliberately as he carefully peels back the layers to create something magical and tender. Some Kind Of Forever is an instant timeless classic and the warm, gentle breeze we all need right now.

Candlebox is gearing up for an unforgettable finale as the legendary Seattle rock band prepares to retire at the end of the year. The group’s Long Goodbye Tour is currently underway, and its final album, The Long Goodbye, will be released later this month. Today, Rhino announces it will spotlight Candlebox’s early years with a 7-LP vinyl boxed set featuring all three studio albums the group released on Maverick, plus more than a dozen previously unreleased recordings that are only available in the collection.

THE MAVERICK YEARS will be available exclusively on vinyl on September 22. The set introduces newly remastered versions of Candlebox (1993), Lucy (1995), and Happy Pills (1998) as double LPs, along with a single album of unreleased outtakes, demos, and more. Candlebox and Lucy will make their North American vinyl debut, while Happy Pills will be available on vinyl for the first time anywhere.

The Maverick Years chronicles the band’s dramatic ascent, starting with its eponymous debut, a quadruple-platinum smash celebrating its 30th anniversary this year. The album spent more than 100 weeks on the charts, peaking at #7 with hits like “Far Behind,” “You,” and “Cover Me.” The original album has been expanded on the new vinyl version with two unreleased bonus tracks, “Sorry I Let You Down” and a demo for “10,000 Horses.”

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

After the success of Death Walks Behind You, an appearance on Top of the Pops, and a successful tour, it was time for emerging stars Atomic Rooster to record their third studio album, In Hearing Of. The album is a perfect example of a band evolving and in constant transition, such as they show with this little-known gem of the '70s British rock.

Much less bombastic than the band's earlier releases, In Hearing Of is almost funky at times. The lyrics are doom-laden in the spirit of much of this genre of British hard rock at the time, and pseudo-classical references crop up from time to time, but Vincent Crane's keyboards are generally tasty, and the melodies are often downright memorable.

In Hearing Of is available as a limited edition of 750 individually numbered copies on translucent magenta coloured vinyl.

Taking up the gauntlet thrown down by New York's no wave scene, many Italian bands of the early '80s, playing far from the footlights of the world's stage, began creating compelling, and often cutting edge, hybrid sounds. This kind of experimenting soon went viral along the entire peninsula: from Southern Italy to the Alps, creating a brave new Italian take on post-punk. From the nervous white funk of Neopolitans Bisca, to the instrumental explorations of Confusional Quartet, to the "fake jazz" of the Hi-Fi Bros (who even had a track produced by Arto Lindsay), to Band Aid, this collection testifies to one of the most creative periods of the Italian underground. Also features: Eazycon, Modern Model, Die Form, Funkwagen, Nofun, Hakkah, Illogico, Rinf, and State Of Art. Includes CD; CD features the previously unreleased bonus track by La Maison, "Noise Express".

For fans of Sass Jordan, Alanis Morrisette, Foo Fighters and Classic Rock! Sass Jordan's breakthrough album, Racine, was released in 1992 and yielded the Canadian hit singles "Make You a Believer," "I Want to Believe"--both ranked on Billboard magazine's Mainstream Rock chart. In 1994, Jordan released Rats, which yielded her first song on the Billboard Hot 100 with the single "Sun's Gonna Rise," and also featured “High Road Easy.” In 1992, Jordan recorded the duet "Trust in Me" with Joe Cocker for the motion picture The Bodyguard. Jordan is now releasing Live in New York Ninety-Four. The show was recorded at the South Street Seaport in NYC during the 1994 Rats tour. The band at that time, along with Jordan, consisted of Tony Reyes (bass, vocals), Taylor Hawkins (drums, vocals), Nick Lashley (guitar), and Stevie Salas (guitar). The album features killer versions of classics like “Make You a Believer”, “High Road Easy” and “You Don’t Have To Remind Me” and included never before seen photos from the 1994 Rats tour taken from Jordan’s personal collection. Jordan shares, this is a celebration of the early days in the career of Hawkins, future Foo Fighters drummer. Jordan says, "As we hit the milestone that marks one year since Taylor left us, I wanted to do something to honour his memory--a recognition and appreciation for his glorious, big, beautiful energy--which lives on through this recording and in all of our hearts.”

dvsn have turned the page to a new chapter in their career with the release of their fervently anticipated third studio album, A Muse In Her Feelings, via OVO Sound. The album is a beautifully crafted body of work boasting an all-star cast of collaborators, including the likes of Future, PartyNextDoor, Popcaan, Buju Banton, Summer Walker, Jessie Reyez, Snoh Aalegra, Ty Dolla $ign and Shantel May. A Muse In Her Feelings brings R&B back to tropes that built the genre. Incorporating vulnerability, yearning and lust, the album draws inspiration from the early aughts with Daniel Daley's pen sharper than ever, coupled with Nineteen85's cutting edge production. All while rooted in the tenets of golden-era R&B.

Colours collects ParyNextDoor's 2014 EP Colours 1 - long heralded as a contemporary classic - with his critically acclaimed Colours 2. Both rank among the most memorable works in PND’s stellar catalog. The first volume showcases emotionally raw, true-to-life narratives and the range of his arresting vocals. Whether it's songs like "Girl From Oakland" or the Travis Scott-assisted "Jus Know," PND proves himself one of this generationís most gifted songwriters. He confirms as much with each subsequent record, including slow jams like "Freak In You" from Colours 2. Now that both EPs are side by side, listeners can trace PND’s artistic growth by revisiting these early classics, and for the very first time, fans can listen to this joint project on limited edition white vinyl!

Donald Harris, James Boone, Maurice Puckett, Robert Dycus, James Brantley, Maride Williams, Dennis McNeil, The Rhythm Machine formed in Indianapolis by former members of the Highlighters. In the early days they were primarily a live act, playing locally and touring frequently. They opened for Earth, Wind and Fire and The Emotions, among others.

They released three 45’s and a full length LP during their time. Two 45’s “The Kick” and “Brenda and Me/Put A Smile On Time” were on Lulu, while “Freakish Love/Whatcha Gonna Do” was on Rodan. Their LP, released in 1976 towards the end of their run, was on Lulu. With the Indianapolis soul scene marked almost exclusively by 45’s, this LP release was one of few released locally in the 1970’s, and it is quite scarce and in demand today.

The last decade has seen a seismic shift in how people buy and play music, vinyl has returned to being the dominant physical format with CDs consigned to second fiddle. Things were very different back in 2012 when we compiled and released the eponymous "Cool Runnings" on CD only. The vinyl revival is a belated opportunity to give the band their first long playing record to complement that earlier CD release. Together for a dozen years, Cool Runnings were one of Bristol's longest lasting bands gigging throughout the 1980s, though their failure to gig beyond the West Country meant they were also one of the City's best kept musical secrets. Originally formed in Weston-Super-Mare by Keyboardist Mark Tuck and Guitarist George Condover, they immediately relocated to Bristol and recruited various local musicians including an experienced and talented singer, Winston Minott. Although "Robin Hoods of The Ghetto" was their solitary release, the band regularly recorded material throughout their career and fortunately thanks to the foresight of George and Mark in holding onto various master tapes, Bristol Archive Records were able to release the band's self-titled debut album "Cool Runnings" in 2012. For this vinyl release we've selected eight tracks recorded between 1983 and 1985 at various local studios, and a solitary live track to give an idea of why the band were so popular in person. Although their music leans towards the more mellow end of the market, Lovers Rock, music ideally suited to Winston's soulful voice, the band were more than capable of writing good roots tunes including the excellent "We Must Go Home", "Children of Zion" and "Robin Hoods of The Ghetto". Winston Minott had spent many years touring all over Europe with soul band The Invaders and many songs showcase his vocal talent, but a particular highlight has to be "Playhouse" an alternative recording of which can be found on "The Bristol Reggae Explosion Volume 3". Perhaps proper management would have seen Cool Runnings achieve the success and wider exposure that their combined talents and unique take on reggae undoubtedly deserved. Now thirty years after the members went their separate ways, Bristol Archive Records are pleased to finally release the vinyl album that if things had worked out differently should have appeared in the 1980s

Portland-based Kevin Palmer returns to blundar with his Best Available Technology for another release (having previously been featured on cassette). This time it’s on vinyl but still messing about with the same business of constructing and deconstructing head-nodding beats into a foggy bowl of ambience that has become the trademark sound of BAT.

Initially inspired and influenced by the sound-worlds created by Hank Shocklee, BDP and KDAY, Palmer spent his formative years combing pawn shops for samplers. This kicked off his self-described obsessive compulsive work crunching out impossibly naive and obviously unschooled jams in what might have been and continues to be an attempt to capture and document something he felt when listening to the bombastic sonic collages of early hip hop.

Going backwards in order to go forward could be an apt mantra to describe the philosophy behind BAT. Often attached with labels like nostalgia and melancholy, Palmer surely deals with the longing for that perfect time capsule of N.Y. hip hop in the 90s - but where others zoning in on that era simply imitate it, Palmer goes way further into a world of his own making.

Far removed in both time and place to the outskirts of Portland, the sonics of Palmer filters through an outsider’s perspective, sometimes offering a personal journal of the here and now via field recordings from skateparks and surfing trips.

As if one would imagine looking slightly to the left of what was supposedly going on, these tracks continuously shift one's focus. That funky feel good beat is there, but almost always just out of grasp. Palmer gives us the sound of a memory slipping away.

Yet this reads not as the end of something, but rather a stepping stone into a world of possibilities. Operating at the outskirts of genre, you could imagine anything from dub, hip hop, ambient or techno to emerge and crystalize from the haze, yet it never does. This is all those things and nothing. Or maybe it’s just some “sad fucked up funk” as Palmer puts it.

Tighter is the reissue of the out-of-print debut album Tight by American electronic rock band Mindless Self Indulgence. Originally released in 1999, the album was given an expanded edition in 2011 but has been out of print for over a decade.

This vinyl reissue includes the original 15 tracks, as well as the 11 B-sides, including the songs "Bring the Pain," "Tornado," "I Hate Everyone," and the standout track "Molly." Marked by an eclectic range of influences and showcasing the band's signature sound, Tighter is both chaotic, offensive, and danceable, perfectly capturing Mindless Self Indulgence's early musical efforts.

The album is unapologetic in nature, which solidified Mindless Self Indulgence's reputation as one of the most innovative and boundary-pushing bands. Tighter remains a cult classic and a testament to the band's enduring influence.

Tighter is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl and includes 2 printed innersleeves.

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SHAFTY was a house music project made in Italy by Andrea Gemolotto and Ralf. They both can be considered two pioneers of the early italo house scene, Gemolotto already made a big hit
in 1989, Sueno Latino' , and he also won the italian DMC Championship as Cutmaster-G.Antonio Ferrari, aka Dj Ralf , has been a nightclubbing icon for almost 30 years. Since 1987 he has remained a key element of the Italian house music scene, taking his signature style to clubs all over Europe and the world. Deep Inside (Of You)' was the first release on Heartbeat catalogue (1991), and it's now officially repressed by Groovin Recordings (all tracks have also been remastered).

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.

Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«.

»Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another.

Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.

After the demise of Denver emo legends, Christie Front Drive, singer/
guitarist Eric Richter moved to Brooklyn and started Antarctica with other
members from the scene - Despite just a few releases to their name they
gathered a large cult following - Originally released as a 2xCD in 1999 on
File 13 Records, 81:03 is an expansive and textured example of
electronic-infused shoegaze music blending the swooning, syncopated
pop of New Order, the dark chill of Pornography-era Cure, the hypnotic
pulse of Underworld, and the guitar harmonies of Ride and For Against
Almost 25 years later, 81:03 still feels fresh; like a modern soundtrack for those
seeking moments of beauty in an increasingly troubled world. Newly remastered
and finally available on vinyl for the first time, Antarctica will appeal to fans of
early Cure, The Church, Washed Out, Tycho, Christie Front Drive, Mineral, The
Gloria Record, etc.

We’ve got a special AA-side vinyl release for all Toolroom and Cutting Recs fans with the original UK Edit of the seminal ‘This Brutal House’ from Nitro Deluxe followed, by the 2023 rework from Toolroom’s founder Mark Knight! A release you do not want to miss!

Sat in-between Electro and House genres, Nitro Deluxe’s pivotal record ‘Let’s Get Brutal’ on legendary imprint Cutting Records helped paved the way for the early beginnings of House music as we know it today. A record that has influenced so many of House music’s iconic artists, from being sampled by Kevin Saunderson (aka Good Life) in their huge hit ‘Big Fun’ and most recently, Mark Knight.

An unmistakable record and one that struck a chord in the early career days of label boss Mark Knight, who simultaneously sought to beef up his current sets in 2023 with the magic of those early House records, when the opportunity arose to update this classic Mark straight in. Keeping this new version sentimental to the original, with all those original synth elements included but laid over the top of an up-to-date Tech House groove with a renewed energy, so that today’s floors will appreciate that seminal riff, all over again.

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

Remastered Reissue des Samplers 'Ariwa Sounds: The Early Sessions' (1984) mit den frühen Produktionen der Reggae/Dub-Legende Mad Professor, aufgenommen zwischen 1979-1981 in seinem Wohnzimmer, kurz bevor die Idee Form annahm, ein Studio und das Ariwa-Label zu gründen. Er lud lokale Musiker zur Zusammenarbeit ein, darunter Errol Sly, Ranking Ann, Sergeant Pepper, Deborah Glasgow, Victor Cross, Sister Audrey und seine Begleitband The Sane Inmates, von denen einige später zu festen Größen ihres jeweiligen Genres wurden. Die LP fängt die rohe Essenz des frühen Sounds von Mad Professor und Ariwa ein.

Balishark will be finally out on earth physically, on twelve with a pretty handprinted cover with love. This record is something very special for us, its a bunch of eternal "souvenirs" of smile, light, sun, fun.... with our friend, this beauty man on the back cover, sunbeams filled!! !! ! !

Five songs compose this album, the first one, balishark is a proper "pièce sonore", its a lot of Pierre Sharki's field recordings he did in the wonderland of Balì, they, with Guitos Samba, Jonas Taupe Gun and Grand Matthias fixed a composition from this atmos sound in La Cabane, studio in Lyon. "Jawabarat" is a pure interpretation of west java gamelan rhythm and logic. And the B face are jams only, excerpt from early mornings! A multi world sounds around our friend Guitos Samba :)

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

The early days of "Baltimore Club Music" saw it played at popular venues like Club Fantasy, The Ozone, Hammerjack's, and Paradox. DJs Sean Marshall, Marc Henry, Shawn Caesar (at DJs Outlet in Old Towne Mall), Scottie B and Danny Class (at Inner City Records), Technics (at Music Liberated), DJ Patrick (at Sound of Baltimore), and Diamond K and Kenny B (at Electronics & More) all contributed to the mix of hip-hop, house music and homemade beats that made up this new sound. "Booty Mission" (1992) is a creation of Shawn Caesar and Ty "Flex" James and is considered one of the most influential releases, an essential for any Baltimore Club Music fan. It is sure to remain timeless.

Analogue Attic presents the second solo release from label co-founder and one half of Albrecht La'Brooy.

6 stunning compositions to soundtrack your half-time break, or to celebrate the big win, 'There's Always Next Year' is a tribute to the misguided hopes and dreams of a sports fan.

Field recordings and commentary from a range of codes weave between silky saxophone lines and piano chords in what is a textbook showcase of the classic Analogue Attic downtempo and early evening sound we've come to know.

Death Is Not The End sub-label 333 turns up the gold again with this repro of the much in-demand Flames cut of Nairobi Sisters' Promised Land. Sampled by Q-Tip for "Whateva Will Be" (appearing on ATCQ's final long-player) and on a range of earlier 90s boom-bap era productions, it is not at all hard to figure out why it's a coveted record. That break is as low-slung and funky as it gets, and best showcased on the superbly stripped-back dub on the flip.

The Nairobi Sisters were singers Terrie Nairobi and Judy Mowatt (later of the I-Threes, alongside Rita Marley & Marcia Griffiths). Promised Land was originally recorded together with The Gaytones for Sonia Pottinger's Gay Feet label, with this later version cut for Winston Jones' Brooklyn-based Flames Records. It is issued here under license from producer and songwriter Jones - the original singer and composer of Stop That Train (later made world-famous by Keith & Tex's version) with his Spanishtonians in the early 1960s - who later moved from JA to NYC where he established and ran the Flames label, a core imprint in Brooklyn's reggae scene from the mid-1970s until the early 1990s. 333 has licensed a range of Flames-era productions from the now Texas-based Jones, so keep and eye out for more as it comes... but for now, jump on this before it's gone!

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer