Suche:ed kane

Repress incoming!

Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

‘Pavilion 12”s Volume 1’ features four hard to find and sought after Balearic cuts from the Ibiza Balearic explosion of the late 1980s and early 1990s and is pressed on a limited ‘Aquamarine’ coloured vinyl pressing of 600 copies worldwide for Record Store Day 2026

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Limited Edition! The "LaBush - Temple of House" Volume 2 Vinyl Box Set for the 30th Anniversary of the Legendary Club!

Barely six months after the phenomenal success of the first box set, La Bush - Temple of House makes history once again, celebrating its 30th anniversary with the release of Volume 2 in a limited edition 10x12" vinyl box set. A true must-have for collectors and electronic music enthusiasts!

This exclusive box set features no less than 35 tracks, an incredible number for a vinyl collection, offering unparalleled pressing quality that guarantees an exceptional listening experience, perfectly suited for any turntable. Each track has been meticulously remastered, preserving the essence of the original versions while enhancing every sonic detail.

The deluxe packaging of this box set is a work of art in itself, designed to captivate the most discerning vinyl lovers. Moreover, with tracksfrom legendary artists like Paul Kalkbrenner, Paul van Dyk, David Guetta, Tomcraft, Oliver Lieb, Matthew Herbert, and La Bush resident Mr. Sam, this box set is an essential treasure.

For those who already own the first box set, this new volume is the perfect opportunity to complete your collection in the best possible way, adding a new centerpiece to your La Bush ensemble.

Don't miss this unique opportunity to add a masterpiece to your vinyl collection. Order now before it's too late!

The "ongakudō / droga muzyki" project is ("The way of music" in English). Initiated by Groh - head of the JuNouMi label (est. 2002 Polish hip-hop label), the project is the result of cooperation between Polish and Japanese artists.

First, Twardowski created music based on samples from Japanese albums. Then MCs KANETSUGU (JP) and Prykson Fisk (PL) were invited. The next element were DJs - 1an from Tokyo and DJ Eprom from Warsaw (former IDA world champion).

An important element of the project is the graphic design, for which Małgorzata "Mauko" Korczak is responsible - exploring the art of Japanese Shodō calligraphy. As many as three versions of covers were created. One limited edition (hand-numbered 100 pieces), a version with a black wax and a version exclusively for the Japanese market.

This 7" is the first part of the Polish-Japanese series. It is the beginning of our journey.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Hailing from the West side of St. Louis, Missouri, Mikahl Anthony’s sonic roots spread far across the global Alt-Soul / Hip-Hop scene. A highly soughtafter multidisciplinary artist (who has collaborated with the likes of Mick Jenkins, Chance The Rapper, Joey Purp, Smino and more), as well as being a founding member of Chicago’s THEMpeople collective, he now prepares to unveil his masterful full-length debut Muse via R&S Records.

Accompanied by several beautiful, self-directed film pieces, Muse is a record with storytelling at its core. Interspersed with commentary from a range of sources telling their stories to Mikhal, whilst collaboratively analysing their personal experiences, it speaks a candid and honest narrative, which reinforce the heartfelt lyrics within. With the project’s name anchored around a dual meaning acronym (1. Ms. Using sensual energy and 2. Making use of seclusion every day). The record is an audio version of docufilm, that creatively interprets the idea of self-therapy, an internal/interpersonal reflection of life experiences that serendipitously connect to Mikahl’s personal romantic relationships. Mikahl explains: ‘I wanted to use a unique style of songwriting, arrangement and filming with the intention of soundtracking my self-development/maturation process’.

On the project’s lasting impression on the listener, Mikahl elaborates ’The exploration of inner truth and vulnerability is key to the future of good music. I want this project to act as symbolism that highlights the mantra that honest approaches and authenticity still has the most value. I also want people to see how important the use of community is when you can connect them to your subject matter...I'd like my audience to observe and engage in their own self-reflections, approaches by way of listening or interacting with the story.’

Drifting to an elevated state of consciousness, Muse is a deeply intoxicating and engrossing listening experience from front to back. From the sliding, kaleidoscopic shadows of opening track ‘La Flare’, via the trepidation-laced atmosphere of ‘Polyamorous’ and the hazy, reverb drenched saxophone notes of LP closer ‘Eddie Kane’ - Mikahl channels moments of joy and pain, infused with spirit enriching instrumentation and gritty textures.

Visual stimuli play an integral role within Mikahl’s music. His songs represent transparency and openness dipped in funk. Layers of soft velvety vocals emerge from jazz harmonies, trap rhythms, and social commentary sourced from voiceovers/excerpts. His creations are the musical representation of documentary films. His art is imagery embodied.

The Rascals are a British indie rock trio formed in 2006 by Miles Kane (guitar and vocals), Joe Edwards (bass) and Greg Mighall (drums), hailing from The Wirral on Merseyside. Before becoming The Rascals, all three members spent their formative years playing together in The Little Flames, gaining valuable experience touring with prominent contemporaries such as The Coral, The Zutons and, most significantly, Arctic Monkeys. It was while supporting Arctic Monkeys—drawing inspiration from their fiercely independent, DIY ethos and refusal to compromise—that the trio decided to trust their instincts and strike out on their own.

In September 2006, Kane, Edwards and Mighall began writing and jamming as a three-piece, giving birth to The Rascals. The band quickly developed a sound rooted in strong pop melodies and psychedelic flourishes, but distinguished by a darker, more introspective undercurrent. Influenced by artists such as Scott Walker, their music carries a sweeping, epic quality, while their lyrics often evoke a David Lynch–like atmosphere. As Kane explains, The Rascals were never content with skimming the surface, instead preferring to explore subtler, shadowy themes that reveal themselves over time.
Released on Deltasonic Records, Rascalize showcases clear influences from labelmates and peers such as The Coral, as well as echoes of bands like The Inspiral Carpets. Standout tracks including “The Glorified Collector,” “Does Your Husband Know That You’re On The Run?” and lead single “Freakbeat Phantom” highlight the band’s knack for catchy hooks, layered guitar effects and driving rhythms.

Meet Me in the Garden is a richly textured exploration of love, loss, and renewal. Co-produced by Felix Bloxsom (SIA, Genesis Owusu), Daniel Mougerman (The Bamboos), and Rita Satch herself, and mixed by Grammy-winning engineer Ben Kane (D’Angelo, Emily King), the album features contributions from some of Naarm/Melbourne’s finest, alongside a sweeping 12-piece string orchestra.
Blending smooth soul, contemporary R&B, orchestral flourishes, and stacked harmonies reminiscent of D’Angelo and Bilal, the album unfolds with cinematic beauty and emotional depth. It opens with a stirring string prelude by Mougerman before transitioning into the dreamy title track. Standouts include the meditative Breathe, the funk-fuelled Joyride, and Warrior Princess - a heartfelt tribute to Satch’s late grandmothers that helped her process grief through song.
Rooted in personal loss and spiritual growth, the album draws from Satch’s Kabbalistic studies and her belief in reunion beyond this life. With its timeless soul and modern edge, Meet Me in the Garden is a bold, soul-stirring debut that leaves a lasting impression.

Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).

Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.

After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).

Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in

five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.

Premium first edition Kane West - western beats. Heavyweight vinyl, heavyweight sleeves, heavyweight design.
1xLP
12” Vinyl Records (180g, Black), Black and White Labels
12”Jacket 3mm Spine, 350gsm, Print 1/0 K, Gloss Machine Varnish + Hot Foil with Emboss on Front Cover, Hot Foil on Rear Cover
Full Colour 12” Board Sleeves
Creative Direction by Kane West
Design by Jacob Hulmston
Pencil Guy Artwork by Daniel Swan

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

Girl group greatness, courtesy of the Chicago-based Hutchinson Sisters (with Theresa Davis on this record) and co-producers Isaac Hayes, David Porter and Ronnie Williams! Recording at Muscle Shoals and Stax studios seems to have added a little grit to The Emotions' sound, too; this 1971 classic on the Volt label offers the perfect blend of sweet and sassy. ''Show Me How'' was the hit, but it's ''Blind Alley'' that made Untouched one of the most collectible albums of its kind: that track's one of the most sampled in all of pop and hip hop, most notably by Big Daddy Kane (''Ain't No Half-Steppin''') and Mariah Carey (''Dreamlover''). Pressed in black and clearwater blue vinyl editions, and cut ALL-ANALOG from the original two-track master!
A1. Take Me Back A2. Nothing Seems Impossible A3. Boss Love Maker A4. It's Been Fun A5. Love Ain't Easy Onesided B1. Blind Alley B2. Show Me How B3. If You Think It (You May as Well Do It) B4. Love Is the Hardest Thing to Find B5. Tricks Are Made for Kids B6. Boy. I Need You

Bert At the BBC is a comprehensive collection of Jansch’s appearances at the BBC, featuring over eight hours of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer’s canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert’s earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert’s BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances – which might go well or go badly, but were going out either way – were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O’Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966–2009, including BBC4’s St Luke’s concert (2003), and a complete Queen’s Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-table book. Bert Jansch At The BBC is an epic and enduring trail, 45 years in the making. “He was that rarity, a musician who really did deserve to be regarded as a legend.” The Guardian // “As a guitar player there was no one like him. He was jazz and blues and folk but there was a whole world in there that was just him, esoteric”

The undiscovered recordings of jazz pianist Fumio Itabashi's iconic work Watarase were compiled from the perspective of a pioneering figure in the Japanese jazz scene, Minoru Wakatsuki, and garnered widespread acclaim with Watarase ECHO. The second installment, Watarase VOICE, focused on "voice" and featured unpublished tracks with a diverse range of vocalists. Now, as the third volume in the series, the complete version of the 2001 performance of Symphonic Poem “Watarase” by the Kanagawa Philharmonic Orchestra, conducted by Kazuhiko Komatsu, with Fumio Itabashi and Yukki Kaneko, will finally be released! The full version could only be heard on VHS video at the time, and is now being released for the first time as a physical edition, making it a highly anticipated and long-awaited release.

mimismooth, a one-of-a-kind singer widely recognized for her work with numerous artists such as Sick Team, Senninsho, and Green Butter, as well as for her

collaborative project First Jam Magic released under the name BudaMunk x Takumi Kaneko (cro-magnon) x mimismooth.

1Co.INR, a beatmaker based in Yamaguchi Prefecture on the western tip of Japan’s main island, is known for his releases on Jazzy Sport such as the album
Enough Said and his collaborative work with DJ Mitsu The Beats on BEATS OF THE MONTH SPECIAL. Now, their highly anticipated collaborative project
Kanojo to Umi (""She and the Sea"") is finally being released as a fully limited-edition vinyl pressing!

a A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

[a] A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

A regular of Australia’s thriving musical circuit, Kane Dignum aka Little Fritter makes his debut on Hot Creations with Dub Riddem. The EP continues an impressive 2020, that has seen the Gold Coast native’s standout productions land on the likes of Desert Hearts and etcetc already this year.

Those aforementioned features are present right from the offset, as Dub Riddem leads proceedings. A reverberating vocal keeps us hooked, before hard-hitting drums combine with a shimmering cow-bell lead to form a real dancefloor weapon. Puff Puff comes next, with prominent kicks giving way to a chuggy, up-and-down bassline, whilst lyrical samples echo in the background to create a choppy, groove-lead atmosphere. How Lucky Should We Feel? rounds things off in a similarly club-ready vein, merging resonant vocal cuts with punchy drum patterns and bringing shimmering hi-hats in tow.

Little Fritter has been a regular on the electronic music circuit for more than a decade. Having had his first release back in 2008, few artists have stayed as relevant and cutting-edge as the Gold Coast mainstay. Performances at Berlin’s Club De Visionaire and Barcelona’s Off-Sonar cemented his reputation as a respected prospect in the scene.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Once again, Decca Records have been shining a light into the recesses of their vast archive to bring you 'The Decca Years 1963', a newly compiled collection of hits and rarities from the pioneers of British Pop music, available as a 45-song 2CD set, or a 22-song 'highlights' LP. Alongside big hits and familiar favourites from Brian Poole And The Tremeloes, Billie Davis, Kathy Kirby, Jet Harris and Tony Meehan, The Tornados, and Tommy Steele, we are excited to bring you some tracks that are being made available again for the first time in more than 60 years, and a few that have never been on CD before. Both formats come in eye-catching, retro style packaging that references Decca releases from the early '60s, and feature informative track-by-track sleeve notes.

House of Flying Daggers is a multiple Satellite, LA Film Critcs & Boston Film Critics award winning 2004 wuxia romance film directed by Zhang Yimou and starring Andy Lau, Zhang Ziyi and Takeshi Kaneshiro. Unlike other wuxia films, it is more of a love story than purely a martial arts film. The film features the theme of a beautiful woman who brings woe to two men. The soundtrack is produced and created by legendary Japanese composer Shigeru Umebayashi and features vocals by Zhang Ziyi and Kathleen Battle. Shigeru Umebayashi is perhaps best known for “Yumeji’s Theme” (originally from Seijun Suzuki’s Yumeji), included in director Wong Kar-wai’s In the Mood for Love. In celebration of Umebayashi’s 70th birthday on February 19, 2021, the House of Flying Daggers soundtrack is released on vinyl for the first time. It is pressed on green marbled vinyl as a limited edition of 2000 copies. The packages comes with an exclusive replica of the movie poster and a 4-page booklet.

The most famous and highly successful trance compilation worldwide is Talla 2XLC’s Techo Club series that always topped the charts and download shops. After 67 magical episodes in February 2023 Techno Club has celebrated its 25 years anniversary with the ultra large Best of 25 Years 4 CD edition. After 25 magnificent years of DJ battles and exceptional DJ mixes between DJ Talla 2XLC and his brilliant globally known guests including Taucher, Kai Tracid, Tom Wax, Scot Project, Cosmic Gate, Aly & Fila, Jerome Isma-Ae, Alex M.o.r.p.h., Woody van Eyden, Markus Schulz, Allen Watts, Ralphie B, Metta & Glyde amongst many others, trance fans can experience the mouthwatering and highly satisfying recap with the Best of 25 Years shinning edition. Two Mixed CDs perfectly arranged by the trusted hands of Talla 2XLC and the resident Techno Club DJs LXD and Bluefire to keep you dancing 24 hrs and 2 Unmixed CD’s with eternal trance classics for club and radio DJs who wish to educate their audience and incorporate these timeless jewels in their digital collection and DJ sets.

After thousands of requests via Talla 2XLC social media ZYX proudly presents the vinyl edition of Technoclub 25 Years vol.1. In two brilliant vinyls, trance aficionados will enjoy 12 of the most highly requested trance classics from the vaults of the iconic Technoclub compilations.

The 1st vinyl includes the legendary Jam & Spoon Watch Out For Stella Remix of the most significant trance track of all times Age Of Love, then the balearic Ocean To Shore Club mix of the melancholic On The Run by the late legend DJ and producer Tillmann Uhrmacher. Final track in A side the highly energetic Fly Away by Vincent De Moor in the most powerful remix by the German duo Cosmic Gate. On the flip side Jorn van Deynhoven Remixes RAM’s eternal beauty RAMsterdam. The legendary team of Nalin & Kane represented by their remix on Lustral aka Space Brothers blissful and oceanic Everytime. Lastly the well known Sunrise by Ratty aka Scooter side project with the rough tribal main section and the sunkissed feel good breakdown. The 2nd vinyl will bring tears of joy with Talla 2XLC remix on the highly euphoric Sky by Dito. The epic Ronski Speed remix of the countless times remixed trance classic 1998 by Binary Finary and finally the still crowd pleasing Dreams by the Australian Quench. The D side is all about Talla 2XLC productions including his brilliant remake of the fantastic The Meteor, followed by the highly uplifting Xijaro & Pitch remix on Pull, the epic Talla’s co-production with Junk Project. The final track is dedicated to psy-trance community with Zyrus 7 aka Talla 2XLC psy-trance project with the fast moving anthem Lost in Space. The growing fanbase of trance vinyls will adore this great collection of the finest trance anthems from the past, present and future carefully selected by Talla 2XLC and his Technoclub team mates.

Chita, the third album proper by Japanese guitar pop trio Usurabi, is their most elegant, stylish confection yet. Over the past four years, Toshimitsu Akiko (vocals, guitar), Kawaguchi Masami (bass) and Morohashi Shigeki (drums) have been recording, playing live, and releasing songs of rare melodic warmth, centring Toshimitsu’s unique musical vision, where melancholy and joy can co-exist, a split-second flick of her wrist switchblading the guitar from languorous sweetness to overloaded rock action.

Chita expands on the smartly sculpted pop and rock songs found on their previous albums, Remains Of The Light (2021) and Outside Of The World (2023), while infusing the music with more of the rough- housing energy that also coursed through the live CD, Once In A Red Room, they self-released in January 2024. There’s still a through-line, of course, that connects the music here to Toshimitsu’s earlier groups, Doodles and Animone, but Chita feels more deeply like a sussed, sharp take on the crumbling edges of sixties psychedelic folk and rock: the harmonica that blasts through the opener, “Bansho”, is pure Dylan in effect.

One of the many smart things about Usurabi, though, is that they never feel beholden to the historical moment. Soon after “Bansho”, we encounter “TurnOff”, a lush pop song that turns on a dime, with Toshimitsu tearing fuzztone notes from six strings that are like a more folk-reverent Kaneko Jutok. And there’s something about the guitar and bass riff that doubles through the thrilling two-and-a-half minutes of “Hakanonaka” that’s a dead ringer for the Only Ones. Flip the record, and things get more expansive, the spindly jangling of the title song spiralling ever inwards, before the sweet, sugary rush of “Kanata” resolves to the martial rhythms that pulse through “Aseranai”, winding the album down to its poetic, becalmed resolution.

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments icy and warm, stripped-down and grand, familiar and otherworldly and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard’s musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn’s audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans–reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast–raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo’s first release, Pigments. “Pigments was one of the best projects I’ve ever made,” Richard says, “and the furthest I’ve ever been pushed as an artist.” The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. “I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks,” he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, “Oh, this is the next album.” Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn’s piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track “Life in Numbers,” Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022's Pigments_icy and warm, stripped-down and grand, familiar and otherworldly_and now it has reunited them for Quiet in a World Full of Noise. By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing_driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. This year, Richard's musician father experienced mini strokes while being diagnosed with cancer; and last year, her cousin Cisco was fatally shot seven times in New Orleans. Richard channels the emotional impact of these traumatic experiences of loss into her lyrics and vocal performances, which are left bare and human here, raw and unprocessed across the album. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether. On paper, Richard and Zahn's audacious, impressionistic musical collaborations feel like a surprising match. Richard, a New Orleans-reared visionary, has had an improbable journey from late 2000s reality television and mainstream pop with girl group Danity Kane to become one of the most prolific, experimental, and visible indie R&B singer-songwriters of the last decade and a half, with seven solo albums under her belt. Zahn is an East Coast-raised multi-instrumentalist and composer working at the intersections of jazz, Americana, classical, and ambient pop. His growing solo discography includes People of the Dawn, Sunday Painter, Pale Horizon, and Statues I & II, as well as the duo's first release, Pigments. "Pigments was one of the best projects I've ever made," Richard says, "and the furthest I've ever been pushed as an artist." The album was a critical hit, hailed as Best New Music by Pitchfork and receiving praise from Stereogum as Album of the Week, NPR Music, Bandcamp Daily, The Fader, Bitter Southerner, and Edition, among many other publications. The making of its follow-up, Quiet in a World Full of Noise, began in 2023 in upstate New York. Fresh from a break-up, Zahn sat at his piano and poured himself into writing and recording instrumental compositions. "I wrote all these stream-of-consciousness pieces on piano, and they were eerie, spacious piano tracks," he said. He used a piano that had been unconventionally tuned to the room rather than to standard pitch. These oddly-tuned, eerie instrumental recordings were never intended to be an album. Six months later, he listened to the recordings again and sent them to Richard who immediately recognized their potential and said, "Oh, this is the next album." Richard went into the studio the next day and wrote and recorded melodies and lyrics to Zahn's piano recordings. Zahn brought in gifted musicians like Bryan Senti on strings (violin, viola, and violoncello da spalla) and CJ Camerieri on brass (French horn, flugelhorn, and trumpet). In some cases, like on the track "Life in Numbers," Zahn used only the original first-take piano recording and scratch vocal, resulting in an intimate close-up of both Richard and Zahn.

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Die unterhaltsamste Metal-Horror-Extravaganz! LIMITED EDITION 300 copies only TRANSPARENT TURQUOISE

Grymheart kombinieren die Energie des Power Metal, die Harmonien des Folk Metal, die Epik des Symphonic Metal und den schrillen Gesang des Death Metal. Die herausragendsten Elemente ihres Sounds sind die durchwegs ein-gängigen Melodien: jeder Track besticht durch einprägsame Teile, die sich im Kopf festsetzen; die Songs sind meist schnell und mitreißend mit vielen Double-Kick-Drums, aber es gibt auch einige langsame Stücke mit einer dunkleren Stimmung. Das Gesamtkonzept und das Image von Grymheart stammen von kultigen Monster- und Dämonenjägern wie The
Witcher, Solomon Kane, Van Helsing usw.; jeder Song erzählt von mystischen Kreaturen wie Geistern, Succubus, den lebenden Toten, Ignis Fatuus oder Harpyien. Die Jagd ist eröffnet!

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the signing of the eagerly anticipated debut album by London singer-songwriter and renowned DJ Iraina Mancini. Iraina’s singular pop vision will be known to regular listeners of 6 Music, where her singles ‘Undo The Blue’, ‘Deep End’, ‘Shotgun’ and ‘Do It (You Stole The Rhythm)’ have all been enthusiastically embraced. Iraina's obsession with music stretches back into her early childhood, much of which was spent absorbing her parents’ collection of old 45s, in particular her dad’s Northern Soul records – an alternative education which meant that, by her early 20s, she was a familiar presence in the DJ booth at many discerning London club nights. Her love of French ye-ye, British freakbeat, Brazilian bossa nova, soul, and Turkish psych will be well-known to regular listeners of her Soho Radio show. Having always sung from a young age, Iraina embarked on a string of collaborators such as Jagz Kooner (Sabres Of Paradise), Sunglasses For Jaws (Miles Kane) and Simon Dine (Paul Weller, Noonday Underground) which truly saw her find her metier as a songwriter, conjuring melodies that stand shoulder to shoulder alongside her impeccable influences. Iraina describes her first single for Needle Mythology ‘Cannonball’ as “a celebration of that moment when you meet someone you really fall for and it knocks you for six. It can be a bit scary, but you’ve just got to go with what your intuition is telling you.” Written with Simon Dine, the vertiginous heart-in-mouth abandon of the song perfectly mirrors the circumstances that brought it into being. Iraina cites Jacqueline Taïeb’s 1967 single 7h du Matin as an early inspiration for the song: “There’s such a great energy about that song. Her vocal is amazing and all those stops and starts that grab your attention.” “This is an artist I absolutely love, one of our rising stars at 6Music.“ Lauren Laverne BBC 6Music “Iraina seizes on the best aspects of the past, blurring those impeccable 60s and 70s influences with a touch of modernity.” Clash “Full of femme fatale poise and swooning chanteuse flourishes.” The Times

The "ongakudō / droga muzyki" project is ("The way of music" in English). Initiated by Groh - head of the JuNouMi label (est. 2002 Polish hip-hop label), the project is the result of cooperation between Polish and Japanese artists.

First, Twardowski created music based on samples from Japanese albums. Then MCs KANETSUGU (JP) and Prykson Fisk (PL) were invited. The next element were DJs - 1an from Tokyo and DJ Eprom from Warsaw (former IDA world champion).

An important element of the project is the graphic design, for which Małgorzata "Mauko" Korczak is responsible - exploring the art of Japanese Shodō calligraphy. As many as three versions of covers were created. One limited edition (hand-numbered 100 pieces), a version with a black wax and a version exclusively for the Japanese market.

This 7" is the first part of the Polish-Japanese series. It is the beginning of our journey.

Insatiable funk lovers rejoice! One of the most sought after top vocalist/songwriter Lee Wilson who’s known to dominate house music dance charts week after week delivers this time a boogie banger “Do Better”. The feel-good Original Mix on the A side boasts a thick boogie synth bassline and uplieing chords that carry Lee’s captivating vocals inspiring us with a strong message of positive self-image and self-improvement. B side features the monolog remix by multi-instrumentalist Yuki Kanesaka playing all vintage analog instruments himself bringing that heavy funk to all diggers of sick grooves. Both tracks are upbeat, uptempo, and ready to heat the floor.

Produced by Jake Lim, Lee Wilson Mixed by Emi Ca

Sax by Pedro A. Moreno

DJ Support From:
Disco Sparks, DJ Pope, Stardate, Muzikman Edition, Saucy Lady, Paris Cesvette

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Detroit producer Apollo Brown has made a name for himself as one of Hip-Hop’s most legendary new producers while maintaining a golden era sound. His production credits are a who’s who of Hip-hop greats from Danny Brown to Ghostface Killah, Ras Kass to Westside Gunn. Even Chance the Rapper used a pair of Apollo beats on his debut mixtapes. Known for bringing the best out of musicians, Apollo has a knack for making timeless classics. Brooklyn’s Joell Ortiz started on none other than Dr. Dre’s Aftermath label and built a huge buzz in the industry. He’s worked with legends like Just Blaze among others. He then signed to Shady Records as ¼ of the supergroup Slaughterhouse. He’s worked with Hip-Hop titans Eminem, Busta Rhymes, Jadakiss, Akon, and Big Daddy Kane. Now the pair of Hip-hop luminaries are celebrating the 5 year anniversary of their first collaborative album on Mello Music Group with a deluxe edition including 2 new songs. It’s nothing short of a masterpiece: Mona Lisa.