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DJ Paul Sitter returns with a new batch of hot hits, this time we get into Sergio Leone's westerns, with great music by Ennio Morricone, whose riffs are used on this 45. This is complemented by rap Anderson.Paak, T.I., Method Man and Busta Rhymes. Definitely a bomb for the dance floors (ask if you want to the b-side clip sent)

“Talk West is the project of Dylan Aycock. Aycock has forged a small series of intriguing and beautiful missives through the cassette underground with his explorations on guitar and pedal steel. On Black Coral Sprig, Aycock negotiates the terrain between stately and homely by stretching a ringing country tone into an all-encompassing atmosphere, much like the ambient realms of Stars Of The Lid. His unhurried, gentle playing style comes to reveal understated textures that weave into a whole alternately spirited, warming and often haunting.” —Preservation

Sound Metaphors and Transmigration explore the early underground Goa party scene with a 2x12” compilation.

A collection of Techno, Italian-House, New Beat and Post Punk all heard on the same dancefloors amongst Goa's tropical beaches during the late 80's and early 90's. What is now understood as Goa Trance was once preceded by an amalgamation of many different genres smuggled to Goa in tape format by true music devotees that filtered through all that was being produced in the West shaping a unique dancefloor sound that could only pertain to the “Special Goa Music” genre. Sound Metaphors teams up with Transmigration and journalist, DJ and first hand witness of the scene at hand - Ray Castle – to present a meticulous body of research into the sound signature of that unique scene. 11 highly sought after tracks presented in a double LP gatefold format with an A1 poster insert and insightful liner notes by Ray Castle. A tracklist so lush, your discogs wantlists will forever be grateful – buy on sight.

“Everything about the Goa counterculture was illicit. The music from vinyl was bought with black market money and bootlegged onto cassettes and backpacked to India. Collectors and DJs would swap, dub and edit it, for free parties. The music was disseminated tape-to-tape by a clandestine traveller clique of ragtag party makers. This highly coveted ‘Special Goa Music’ contained a vibe—a brain-infesting vibe—capable of triggering apotheosis-like states for dosed up dancefloors, only possible for sunrise Goa parties in nature, in India.” - Ray Castle

Ltd Edition!

Format: Clear Smoke Vinyl!

With this release TAL delves deep into the very beginnings of Düsseldorf's post punk scene of the early 1980s. STUMM was the duo of Detlef Funder and Bernd Sevens who both would become pivotal figures in the tape underground movement of West-Germany, when they launched the SDV label in 1986. Individually they went on to produce boundary defying works as Konrad Kraft and Seventh Day respectively.

The material on this album was recorded by Funder and Sevens quite casually in 1980 in a rehearsal studio in the centre of Düsseldorf. Right from the beginning the two young musicians incorporated the atmosphere of the space in order to document the process of their sound experiments on a 4-track tape machine. For those recording sessions, which are now released for the first time ever on vinyl and download, Funder and Sevens managed to get their hands on a very rudimentary set of equipment consisting of merely a Korg MS 20 synth, a Roland CR 78 drum machine, a few electronic effects and a drum kit. The urgent and rough sound of the recordings imbues their production with a characteristic and era-specific edge that's hard to imitate today. Spontaneity and understatement were key elements in the brief creative period of STUMM. The recordings still have a uniquely dizzying quality and are somewhat of a basic blueprint for a lot of industrial/techno and post punk which was about to loom in all corners of the world. These tracks are also a testament to the vivid spark of a period in time that would soon be radically changed through the rise of digital technology.

Bernd Sevens: “Around 1980 there was a great musical awakening. Punk, New Wave, Industrial and of course Dub Reggae -- the electronic music blew us away. Everything we heard influenced us. Back then, cassette tapes were cheap and easily available. We could record our ideas on the spot and then copy and distribute the tapes. That's how it started. Giving it a go, experimenting, trial and error. The music you hear on the record was spontaneous and had no concept. Our collaboration was also not intended to be a permanent project. You could say we were dilettantes setting out on our journey, making it up as we went along. It felt like a beginning.”

Tangerine Dream haben die elektronische Musik grundlegend beeinflusst, seit Edgar Froese die Band 1967 in West-Berlin gründete. Sie legten den Grundstein für mehrere elektronische Musikgenres wie Ambient und Electronica, inspirierten Musiker und andere Kunstformen und wurden für sieben Grammys nominiert. In den letzten Jahren wurde ihre Musik in beliebten Fernsehserien wie "Stranger Things" und Videospielen wie "Grand Theft Auto" verwendet.

Nach dem Tod von Froese im Jahr 2015 halfen die verbleibenden Bandmitglieder Thorsten Quaeschning, Ulrich Schnauss und Hoshiko Yamane bei der Umsetzung von Edgars Vision eines Konzeptalbums, das versucht, Quantenphysik und -philosophie in Musik zu übersetzen: "Quantum Gate" wurde 2017 unter großem Beifall der Kritiker veröffentlicht.

In neuer Besetzung haben sich Thorsten & Hoshiko mit dem in Berlin lebenden Keyboard-Virtuosen Paul Frick verstärkt. Das Trio hat das Jahr 2021 in seinem Berliner Studio mit der Arbeit an "Probe 6 - 8" verbracht, einem ersten Vorgeschmack auf das kommende komplette Tangerine Dream-Studioalbum, das Anfang 2022 erscheinen soll.

Probe 6 - 8" sieht die klassischen Studioproduktionen und nächtlichen Echtzeit-Kompositionen der Gruppe als Blaupause für sich langsam entwickelnde Ambient-Strukturen, wobei der Sequenzer-getriebene Sound der Band an die frühen 1970er Jahre erinnert und sich mit einer üppigen, kristallinen Glückseligkeit der 1980er Jahre verbindet. Das Trio komponierte und produzierte 'Probe 6 - 8' mit vollem Zugriff auf Edgar Froeses Cubase Arrangements und Otari Tape Archive mit Aufnahmen aus den Jahren 1977 - 2013.

Der erste Track 'Raum' ist eine Anspielung auf die frühen Live-Studio-Performances 'Zeit' und 'Phaedra' der Band, wobei ein markanter schwerer Moog-Bass den Anfang und das Ende dieses 15-minütigen Einführungsstücks markiert. Diese neuen Aufnahmen enthalten auch zwei Remixe - die in Berlin lebende Komponistin und Produzentin Grand River (Aimée Portioli) hat "Raum" ihren unverwechselbaren Sound verliehen und "Continuum" wurde von Berghain Resident und Leisure System Mitbegründer Sam Barker neu abgemischt.

Mysticisms continues its global search for amazing music, hitting gold again with an EP of four previously unreleased house meets IDM with a dreamy edges by Romania's HAN aka Dan Handrabur, culled from early studio recordings between 1991-95.

After getting into record store culture he began building a studio and eventually gave up studying in favour of production, relocated to Vancouver, Canada, where his debut release (as X Drone with Adham Shaikh in 1993) began to establish Handrabur's role as an integral part its electronic scene. Appearances with Harthouse, Exist Dance, Eye Q Records and many more followed, plus collaborations with the legendary Phil Western. The four tracks here haven't aged at all, with nimble beats, action-packed arrangements and dreamy atmospheres, 'Give In & Resist' coming on like Rising High-era Mixmaster Morris crossed with the playfulness of Air Liquide, and 'Phantasme' revelling in the same cross-rhythmic fun that informed The Black Dog's classics.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

"Acoustic Sounds celebrates Contemporary Records with this new reissue of the West Side Story album by pianist André Previn, bassist Red Mitchell and drummer Shelly Manne. Originally released in 1960, the album contains 8 cuts from the musical soundtrack reinterpreted in a jazz style. Recorded by legendary engineer Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket. "

Die Female Fronted Swedish Doom Metal Band AVATARIUM wurde 2013 gegründet und entwickelte sich im Laufe der Zeit zu einem großen Namen in der Szene. Die Beweise liefern Charterfolge wie Platz 36 in Deutschland und Platz 29 in der Schweiz. Mit den talentierten Musikern von Edling (Bass), Marcus Jidell (Gitarre), Lars Sköld (Schlagzeug), Carl Westholm (Keyboard) und Jennie-Ann Smith (Gesang) sowie nach mehr als 3 Millionen Streams gesammelten Streams, veröffentlichen sie am 21. Oktober 2022 ihr schweres und düsteres Album "Death, Where Is Your Sting". Mit diesem Album beweisen AVATARIUM einmal mehr, dass sie Doom Metal mit klassischem und hartem Rock der 1970er Jahre so perfekt verbinden wie keine andere Band zuvor.
aufwändige UV-Spot-Lackierung, inkl. A2-Poster.

LIMITIERTE VINLY-EDITION DES GLEICHNAMIGEN ALBUMS ZUM ERSTEN MAL AUF VINYL.

"Kunst ist Krieg". Und vor allem Musik ist Krieg - der NACHTMAHR unserer westlichen Zivilisation. Wie eine bassdröhnende Lawine rollen die elektro-industrial-inspirierten Sperrfeuerbeats des neuen Soloprojekts von Thomas Rainer (L'AME IMMORTELLE) mit dem beängstigenden Namen auf die schwarzen Tanztempel zu, begleitet von elementaren Textfetzen, die keine Deckung zulassen: "Feuer frei!"

NACHTMAHR erscheint als "Deus ex machina", entfesselt im sadomasochistischsten Sinne "Ein Spiel" oder gibt sich schlicht elementar: "BoomBoomBoom" lässt den Titel Programm werden - "Ich habe nur ein einziges Interesse. Ob ihr lebt oder krepiert ist mir egal. Ich will Euch tanzen seh'n!" Peitschende Beatstrukturen, Elektro-Industrial im Stile von COMBICHRIST, SUICIDE COMMANDO oder FEINDFLUG und provokative Samples schlagen einen ebenso apokalyptisch-kriegerischen wie unwiderstehlichen Ton an. "Feuer frei!"

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Stabile Kastentasche
- Bedruckte Innenhülle
- Bedruckte Vinyletiketten
- Handnummeriert
- Limitiert auf 500 Exemplare

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

Since the release of the Sentimental Fool, Lee Fields has been touring relentlessly, playing to capacity crowds all across the US & EY with the drive and determination of an artist a fraction of his age. The fruits of which have culmi-nated in his song "Forever" being featured in 2023's top rated Super Bowl commercial, further solidifying Lee as the king of soul. In keeping with the momentum it is our pleasure to announce the release of his brand new single "Waiting on the Sidelines". Written by Thomas 'TNT' Brenneck (MSB, Charles Bradley, Diamond West Records) this beat-ballad grooves low and slow, giving Lee ample room to unleash a heart-breakingly soulful display of vocal acrobatics - an absolute must-have for fans of the Penrose sound. On the flip you'll find "You Can Count On Me", an in demand, upbeat moover previously only available on a limited edition 12" EP. Now bow to the king!

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

To celebrate Wes Montgomery’s centennial on March 6, Verve and UMe are releasing an Acoustic Sounds edition of Smokin’ At The Half Note –essential listening for anyone who wants to hear why Wes’ live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. He never played with more drive and confidence than he does here, supported every step of the way by a genuinely smokin' Wynton Kelly.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

Les Disques Bongo Joe return to the scorching Kabyle rock of Abranis, the pioneering Algerian band that blended traditional Berber music with western rock, folk, disco, and funk, all the while proudly celebrating their Kabyle heritage. Amazigh Freedom Rock is a comprehensive look into their discography, from the garage-rock experimentations of their early days to their lushly orchestrated North African fusion masterpieces of the 1980s.

The Abranis story begins in the mid-sixties, when Shamy El Baz and Karim Abdenou crossed paths in one of Paris' bohemian neighborhoods. Both were Kabyle, the Berber
people from Algeria’s northern regions, both loved rock music, and both were passionate about fostering a modern Algerian sound, as inspired by Kabyle rhythms and melodies as it was by western rock. The two musicians founded Les Abranis in 1967.
Together they experimented by mixing Kabyle vocals and melodies with garage and psych-rock but as the '70s progressed they increasingly moved away from the garage and psychedelia of their early days and began to interpret their Kabyle repertoire in more open and creative ways melting prog rock, jazz and some early electronic influences.

Over 11 electrifying tracks, Amazigh Freedom Rock 1973-1983 highlights their legacy as the underground kings of Kabyle rock.

Der Soundtrack des Jagex Audio Teams zur jüngsten Ausgabe des erfolgreichen Massen-Mehrspieler-Online-Rollenspiels 'RuneScape: Elder God Wars Dungeon' (2021). Deluxe Edition mit 11 speziell für 180g Vinyl gemasterten Tracks auf orange-klarem und grün-klarem Doppelvinyl mit Wolkeneffekt im luxuriösen Gatefold. Die Musik ist abwechselnd donnernd und eindringlich, mit engelsgleichen und dämonischen Chorpassagen, stampfenden Percussions, mitreißenden Orchesterpassagen und schweren Rockriffs. Mit Vocals von Julie Elven (Horizon Zero Dawn, Forbidden West) und Eric Holloway (Doom Eternal).

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Shuko´s new LP is something different. He and the producer Basti (Kanye West, Joey Badass, Timbaland) spent the last 3 years creating samples, learning vintage recordings and putting their knowledge of vintage soul jazz, 60´s and 70´s composer and r&b music into crafting this 31 track album. What makes this release so special is that you now are able to use those samples for your own music and recreating something new without the hustle and pain of clearing samples. Just visit tracklib, pay a little licence fee and register your new work with them. And even if you are not into creating music, this LP is a perfect soundtrack for a calm start into the day or something you will love to relax to.

Elkka’s deep intuition is the unifying thread throughout Cardiff-born DJ and producer’s illustrious career. Vibrant releases for Local Action, Ninja Tune and her own label and party, femme culture, have marked her as an unstoppable force within the London underground.

This recognition metabolised when she was awarded BBC’s prestigious Essential Mix of the Year in 2021, spotlighting her radiant blend of classic house, breakbeat and experimental electronica to the world over.

As the next curator of DJ-Kicks, Elkka is voyaging through rave euphoria. “This is a really special moment for me because DJ-Kicks has been a formative part of my musical education,” she says.

An intoxicating journey through Chicago house and disco, leftfield techno, UK bass and electro-punk, Elkka conjures up an atmosphere that is as primed for the club as it is the listener’s interior world.

Liberation is the latest evolution by David West, a dedicated underground dweller and traveler with his groups Rat Columns and Rank/Xerox and previously spotted in Lace Curtain and Total Control. Many familiar elements of West's songwriting creep out from the speakers this time around, albeit in a sonically more adventurous and personal manner. Swathed in analogue and FM synths, pinned down by near-funk drum machines, and with a vision expanded into the past and future. While in previous incarnations, West's alienated and fragile vocal has battled with jangling guitars and distortion, Liberation sets free his woes and ruminations into space. Taking inspiration from the heyday of Mute Records, the beginnings of electronic dance music's rudimentary sampling, broken and sound art, Liberation's debut LP is 10 songs of the road, about the nameless ghosts on the highway, accidental lovers, the alienation of the stranger in a strange land, the unbearable weight of freedom.
Beginning with a curveball, Liberation's first vocal sets out the position of the forever-cuckold, the sad lover hanging on: Looking For A Lover combines a Roland 707's loping mid-tempo with creeped-out synth lines as West intones his intentions close to the ear. Continuing in a more baroque manner, Move Me makes astounding use of string samples and space, with esteemed engineer Mikey Young's (Total Control / Eddy Current Suppression Ring) production prowess making for a distilled yet inviting loneliness. Forget is the night-drive centerpiece of the album, a 7 minute that erupts into a nihilistic sub-disco darkness. A constant theme of Liberation is the friction between West's characters: a frustrated love in victim-status paired with a menacing intent. The adorable, fragile stalker in the moonlight, illuminated by Whatever You Want, a
subjugated protagonist offering they have while the city burns. The brightest pop moment of the album has this in abundance: Cold And Blue, a classic synth pop jam to be played on repeat til the end of time, like New Order played by one man in his bedroom, with no drugs for a cushion, coming down the stairs, she looks like a perfect fear and Im a monument to your existence. But West has moments of touching sincerity that speak direct to the listener, as in album highlight Leaves Falling; a sparse string arrangement frames his vocal, "why do I keep falling for you I must just really like to be alone." Liberation is the freedom from attachments, about how sometimes they're what you want most.

In 1998, New West Records was in its infancy - The label had only
released a handful of records before becoming fortunate enough to work with Shaver, a duo consisting of Billy Joe Shaver and his son, Eddy Shaver - The guitar virtuoso son and the outlaw-country hit-songwriter formed an incredible pair that would go on to release 6 critically acclaimed albums.

In 1999 the duo released Electric Shaver and the title says it all. Billy Joe had made a career out of playing acoustic country songs but with Electric Shaver, he and Eddy plugged in and delivered an outlaw country record with blues licks and rock solos.

In celebration of 25 years working with this amazing catalog, New West Records is proud to release Electric Shaver on vinyl for the first time.

This is a one-time color pressing. These will not be pressed again.
Each record is packaged in a colored foil paper sleeve with foil stamped sequential numbering 0001-2000. This record is limited to 2000 copies

Wistful, quietly positive, and a little bit melancholic; ambient artist Umber is set to release kaleidoscopic new album ‘Sometimes that light, that shine, seemed like a pretty nice thing’ on 17th March 2023. Focused on melodies that engage the heart as much as the mind, the album brings his electronic influences to the fore, combining shimmering soundscapes with a throbbing pulse of movement.

Umber, the project of Nottingham based Alex Steward, has been steadily releasing sublime music since 2011. Living in a small town provides Alex with a balance between the peace of rolling green fields and the energy of community. This life on the edge of the countryside comes across in his music, which finds the verve of night life enveloped in organic textures and environments.

Wistful, quietly positive, and a little bit melancholic; ambient artist Umber is set to release kaleidoscopic new album ‘Sometimes that light, that shine, seemed like a pretty nice thing’ on 21st April 2023. Focused on melodies that engage the heart as much as the mind, the album brings his electronic influences to the fore, combining shimmering soundscapes with a throbbing pulse of movement.

Umber, the project of Nottingham based Alex Steward, has been steadily releasing sublime music since 2011. Living in a small town provides Alex with a balance between the peace of rolling green fields and the energy of community. This life on the edge of the countryside comes across in his music, which finds the verve of night life enveloped in organic textures and environments.

Alex draws from his experience as a part time palliative care giver, which has had a significant impact on this record. He says, “Through caring for elderly patients, whose time is in short supply, I have discovered that life needs to be celebrated. Even if it’s just playing a game of Scrabble or the way that the shadows of trees dance on a living room wall on a sunny day; there is beauty everywhere. Sometimes we just need to slow down and look a little harder.”

The evocative track titles stem from phrases Alex has heard or read, with the album’s title taken from Stephen King’s book The Shining. They range from the literal (‘It Is Going To Be Ok’, ‘The Last Perfect Day’) to the oblique (‘Hologram Shut Stability’, ‘Sun House Chant’), bestowing the everydayness of fleeting inputs and thought processes to more conscious mantras.

“I feel that my music taps into a part of who we all are”, says Alex. “I try to create music that will emotionally resonate with the listener. Ultimately the album is about finding hope in the smallest actions, something that can often be overlooked or discarded in a world that doesn’t always make a lot of sense.”

Umber’s ‘Sometimes that light, that shine, seemed like a pretty nice thing’ is set to be released on vinyl and digital formats via California-based label Subtempo on 17th March 2023.

Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes.

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

Indie exclusive red vinyl, ltd ed /100. First new studio album in 20 years, produced by J. Robbins & Liars Academy. Indie Exclusive opaque red vinyl. Limited edition of 100. After two decades on pause, Liars Academy return with Ghosts their most massive album to date. Unofficially a followup to 2004's Demons, Ghosts is an evolutionary step forward for the band and testimony to the timelessness of rock music. The swirling energy of 70's guitar rock and the anthemic swagger of 90's radio rock inform the 11 song trip packed with massive riffs, razor-sharp hooks, and scream-along chest beaters--a spectacular come-back album by a band at its peak. Steadfast Records is proud to present the brand new album from Liars Academy. Ghosts is a relentless cache of rock hits from the post-Demon's powerhouse quartet of Ryan Shelkett, Chris Camden, Fred Fritz, and Eric Fauver. Produced by J. Robbins and Liars Academy, mastered by Adam Boose, and vinyl masters cut by Bob Weston.

Indie exclusive red vinyl, ltd ed /100. First new studio album in 20 years, produced by J. Robbins & Liars Academy. Indie Exclusive opaque red vinyl. Limited edition of 100. After two decades on pause, Liars Academy return with Ghosts their most massive album to date. Unofficially a followup to 2004's Demons, Ghosts is an evolutionary step forward for the band and testimony to the timelessness of rock music. The swirling energy of 70's guitar rock and the anthemic swagger of 90's radio rock inform the 11 song trip packed with massive riffs, razor-sharp hooks, and scream-along chest beaters--a spectacular come-back album by a band at its peak. Steadfast Records is proud to present the brand new album from Liars Academy. Ghosts is a relentless cache of rock hits from the post-Demon's powerhouse quartet of Ryan Shelkett, Chris Camden, Fred Fritz, and Eric Fauver. Produced by J. Robbins and Liars Academy, mastered by Adam Boose, and vinyl masters cut by Bob Weston.

aEast Coast meets West Coast when Brooklyn’s own Harry Fraud teams up with Jay Worthy, the Los Angeles based rapper (by way of Canada) and LNDN DRGS front man, for the release of their collaborative album You Take The Credit, We’ll Take The Check. The duo dropped their last joint project back in 2020, Eat When You’re Hungry, Sleep When You’re Tired, which left their fans wanting to hear from the bi-coastal duo. Fraud and Worthy answered the call back in July of 2022, releasing the 14 track album, You Take The Credit, We’ll Take The Check, across all digital platforms to critical and commercial acclaim. Now available for the first time on vinyl,YTCWTC sounds better than ever. Entirely produced by Harry Fraud, YTCWTC features A$AP Twelvyy, BandGang Lonnie Bands, Big Body Bes, Conway The Machine, Curren$y, Kamaiyah, Larry June, MadeinTYO, Ramirez and Sha Hef.

030303 Records taught us a lot about the many faces of acid throughout the 18 years of its existence. The label has specialised in all substyles of the genre, whether that's tracks inspired by early 80s proto acid, Chicago house, braindance or the eerie melancholy of Polygon Window. Good thing is, they haven't stopped getting better at it. Most 030 releases are now out of print and severely sought after and, with so many instant classics featured on it, this fifth compilation will be no exception. Caramel Chameleon kicks off with an epic cut, one that will appeal to fans of Roy of the Ravers. Perseus Traxx, Raving Kid and RAG aka Steven Brunsmann follow suit with acid on a deeper tip, with the latter adding a heavenly soulful touch to it. And how great it is to see American producer Korr? return to the label with a wonderfully spaced out introspective cut. Also standing out is Endfest's heavy electro/acid take on one of the most obscure mysteries ever to come out of Detroit: Shari Vari. Dwaalgast and De Beer Uit Allekmaar aka Cosmic Force deliver the last track before the lights go on - the aptly named A Wave Goodbye has a distinctive, bouncy westcoast-sound-of-Holland feel to it. An excellent compilation and a huge tip!

Red Vinyl

Super smooth and funky 2 track EP, limited red 10 Inch. UK Duo Flying Mojito Bros have their unique sound, mixing several US styles together to make their own brand: Disco, Westcoast and Swamp/Stoner Rock become: Swamp Disco! (side b of our release is an edit for none other than the Grateful Dead!) They have a huge following and just released their debut album. The duo has their boots firmly planted in dusty 70s sunsets, their pan-USA productions take cosmic country funk and rock to modern dancefloors via NYC latin disco and baggy acid house - on a bed of hefty contemporary rhythms. Their music has turned party people loose in clubs, parties and late-night festival tents at Glastonbury, Bestival, Pikes Ibiza, Austin City Limits and beyond. In addition to residencies at The Social, Spiritland and Nobu, they've been invited to work their hoodoo on remixes of Flamingods, Raf Rundell (The 2 Bears), Black Peaches, Jouis, 77:78, Scott Hirsch, James Matthew VII, Katy J Pearson, Jeffrey Silverstein, Rudy Norman and more - releasing on prestigious independent labels such as Heavenly, Paper Recordings and Ubiquity. The Flying Mojito Bros have seen over a million streams worldwide and a mushrooming US fanbase.

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

Royal Headache's first LP from 2011. Black vinyl and super limited edition pressing on What's Your Rupture?

Royal Headache rose out of the bleak underground punk scene of Western Sydney in 2008. In part of response to the gloomy post punk bands happening at the time of its founding.

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

Gaïsha is the collaboration between the Belgian-Moroccan singer Aïcha Haskal and some exquisite musicians, bringing you oriental & psychedelic grooves. Aicha Haskal’s voice is smooth and warm, and switches seamlessly between Arabic chants, parlando and even rap. The diverse background of the musicians (Absynthe Minded, Sylvie Kreusch, Va Fan Fahre, Echoes of Zoo, De Beren Gieren) results in a brilliant melting pot of styles, ranging from cabaret to spaghetti westerns and eastern elements.

Their first album will be released on the 24th of March 2023. In November they dropped the single ‘Ana Aïcha’. An ode to the singer’s name, spreading a clear message: gender equality. The melody translates this protest into a great psychedelic oriental trip.

The previous track ‘Ghalat’ got some promising reviews:
•“Who is a fan of the music of Altin Gün, has a nice discovery with this new single from the Ghent based Gaïsha.” - Indie Style
•“The rhythm, synths and groove seem western, but otherwise everything about this track exudes an eastern melancholy. And when Haskal switches to French, you imagine yourself somewhere in a shisha bar in cosmopolitan Paris.” - Damusic
•“Sounds like: an Arab-psychedelic cracker with a pinch of funk and Serge Gainsbourg” - Cutting Edge

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Yellow Vinyl

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes.

If Oliveros had followed a more conventional path she may have, all social obstacles aside, been considered among the major composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an inclusive and interdependent and unfolding world of relationships."

Oliveros' propensity towards inclusion is part of what makes this work so remarkably distinctive. The Well & The Gentle is carefully crafted, allowing performers to participate in the creation of the work. Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers "pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously."

Unlike most major composers of the era, Oliveros' work focuses on collaboration and improvisation. For Oliveros, the processes involved in making music are as fundamental as the music itself. Oliveros creates, as Arthur Sabatini put it so eloquently in the liner notes, "A world in which sound and the practices entailed in making music merge; become, at once, source and atmosphere, energy and essence, presence and dynamic."

Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations.

A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, Steve Reich and Anthony Martin), which was the resource on the U.S. West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvised with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.

For a quarter of an hour, Zürich was the navel of the world. Let's look back: at New York's CBGB's, pre-punks were shredding away, Malcolm McLaren, as a man with a fine-tuned taste for the hip, imported the sound to London, where his sweetheart Vivienne Westwood dressed the test-tube band The Sex Pistols. A few pop magazines later (we are in an analog world!) punk bands sprouted everywhere, like shiny pimples on poorly fed teenagers. Contrary to legend, even back then, it was often those with a musical background who were the most successful. One such example, Henrich "Wüste" Zwahlen, who had learned the violin, attended a jazz school and went into prog-rock before joining the Nasal Boys, one of the first punk bands in Zürich. The scene included the female band Kleenex (cover: Fischli of art heroes Fischli/Weiss), whose minimalism was praised by the London music press, while the world's most important rock theorist, Greil Marcus, wrote an ode highlighting Zürich's role as the birthplace of Dadaism. A fertile ground for the militant youth movement that exploded in 1980 and stirred up the city of banks, protestantism and boredom with raw wit and expressive violence. Gathering at concerts of local bands and fueled by endogenous and artificial substances - they paid homage to exuberance and self-indulgence.
The mantra of "everything-is-possible" was driven forward on the musical front by progress in terms of means of production: analog electronic instruments were no longer reserved for hippie nerds, who sat in front of large plug-in boards like autistic-psychedelic switchboard operators connecting cables for their sound carpets. Now snazzy stage personnel elicited fast-paced sounds from handy devices often made in Japan. Kraftwerk was fashionable, the Zurich duo Yello experimented with new synthetic sounds, and the groundbreaking album "Alles Ist Gut" by the Düsseldorf based duo D.A.F. (Deutsch Amerikanische Freundschaft) was released, which chanted its program of provocation times danceability with lines such as "Tanz den Jesus Christus, tanz the Mussolini, tanz the Adolf Hitler." In England meanwhile, electronically backed New Romantic bands were replacing New Wave. The Human League, Heaven 17, Duran Duran, OMD, Depeche Mode or Visage stormed the charts.
In Zürich's underground, the duo Aboriginal Voices caused a stir at that time. A couple, good-looking, styled, looking cool into the cold neon light, with a danceable beat and sequenced electro sounds, to which Micheline gave a very unique touch when she sang in French and English. Micheline had a classical piano education, had left home early, worked as a lighting technician in a strip joint and at Booster, the hottest boutique in town (one of the relicts that still exists). Voilà: a musician who was as stylish as she was tough. She was already playing with Wüste in the band "Doobie Doos", a band where everyone played an instrument they didn't master. In 1980 the Aboriginal Voices were formed, initially with vocalist Magda Vogel (of later UnknownmiX fame), who was trained as a classical singer.

Frustrated by organizational friction and constant hassles with band lineups, Wüste and Misch decided to do everything as a twosome: self-mixed, self-styled, self-produced. With the top-of-the-line Linn drum machine clocking the beat, Wüste's guitar and Micheline on the Yamaha synthesizer created a unique sound of danceable electronic music. Whereby the Aboriginal Voices acted as a kind of proto-influencer, receiving the latest equipment to try out, especially since they made it a point not to work with tapes, but to design everything for live shows. They had an interface built for the legendary Roland MC-4B, who sequenced the modular Roland System 100M but where one output controlled a light show synchronized with the sound. A pioneering act that fit well into the DIY spirit of punk, with its self-distributed tapes and fuck-you attitude towards the cretins of the music industry. Consequently only two cassettes and an EP were released. There was something futuristic about the sound, the vestiary style and the electronics, while the attitude remained rebellious. Of course something so deeped in the Zeitgeist wasn't meant to last. Wüste moved to New York, Micheline stayed in Zurich, both still active in the music scene to this day.

Sven Regener, head of the band Element of Crime and one of Germany's most successful pop writer said a few years ago when asked if he knew of any Swiss music: "Of course! In 1983, a Swiss band called Aboriginal Voices played with us at a festival in Zurich. Great, avant-garde electro-pop. That was my first encounter."

If you ever saw them live, you never forgot them, and so over the years you belonged to a teeny-tiny circle of insiders, happy to be joined after all these years by new aficionados who appreciate the sound of that quarter-hour, when Zurich was ravishing, creative and exciting.

- Thomas Haemmerli

As a self-described “sponge for club music”, London-based Bristol transplant Ian DPM has cut a singular figure in both the West Country and the capital in just a handful of years. Already situated as the tastemaker behind music curation platform Definite Party Material, co-owner of Scuffed Recordings, and Noods Radio and Rinse FM resident, Ian DPM’s emergence as a producer has marked him as an expansively curious, bass-forward figure at the bleeding edge of genre boundaries.

After retreating to his hometown of Portsmouth during lockdown to absorb the blueprints of ‘90s techno, Ian emerged with a new phase of experimentation: techno-inspired and indebted, yet eschewing loops and grids for a loose-limbed, open minded engagement of the form.

Taking inspiration from the iconic carnival rides that are inseparable from their high-octane happy hardcore soundtrack, “One For The Waltzers” begins with a distant rumble of muffled breakbeats that inch ever closer. But rather than dizzying lights and in-the-red maximalism, “One For The Waltzers” gradually reveals its knowingly deep shimmy and groove. It is a drum-heavy and rhythmic production, masterfully using negative space to showcase every contour of its slowed-down rave horns and acid house synth lines.

“KE01” inhabits the flipside of the same sonic world “One For The Waltzers”. Here, feverish percussive energy contrasts against pensive melodic synth chords. It’s a heady warehouse affair, familiar and complex, referential yet contemporary, and only adds to the momentum that Ian DPM is gathering.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers. One such admirer is one of the UK's longest serving DJ's and editors, a truly legendary Northern selector who's unique reel to reel DJ sets and reworks has gained him fans worldwide and continues to do so. Ladies and gentlemen, we give you Greg Wilson's West End versions, 4 tracks of unparalleled funk touched by the man himself who has also kindly supplied some choice words about this special release:

"West End has a particular place in my heart. Along with Prelude, it was my main go-to label during the early '80s, an underground New York powerhouse issuing a relentless run of now classic and cult-classic club cuts during the time I was DJing at Legend in Manchester. For me personally, the label is forever connected with this then futuristic venue, West End's progressive approach to dance music, incorporating electronic elements to play a key role in ushering in the Electro-Funk era, finding its perfect environment at Legend, with tracks by Stone, and especially the Peech Boys' hugely influential 'Don't Make Me Wait', providing major stepping stones. This is a project that holds a deeper resonance for me, given my personal relationship with the label, and I'm so happy to contribute the series; the 4 favourites tracks I selected for this release illustrating West End's best qualities - serious grooves and soulful vocals.

The edit of 'You Can't Take Your Cake And Eat It Too' by B.T. (Brenda Taylor) was originally featured on my first Credit To The Edit compilation, back in 2005, whilst Raw Silk's 'Do It To The Music' was also edited around the same period, but has never been made available until now. 'Keep On Dubbin'' by Forrrce, although not as big as the other inclusions at the time, was an ahead of its time hybrid, mixed by Francois Kevorkian, whose dub awakening had taken place the previous year, and Shirley Lites 'Heat You Up (Melt You Down)', which draws from the instrumental 'Melt Down Mix', the version of choice at Legend, where dub and instrumental mixes often trumped the main vocal versions"

A truly golden era of dance music history, all killer - no filler! All tracks featured re-edited by Greg Wilson and re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG. '

"Il mio nome è Nessuno" (My name is Nobody) is an a typical western,
difficult to classify as it's placed halfway between the founders of the
genre of the '60s and the comedies of the following decade
Sponsored and partly directed by Sergio Leone, it came out in 1973 and received great success, thanks to the presence of the actors Terence Hill and Henry Fonda, in perfect balance between a light- hearted comedy and the more serious 'spaghetti western' genre.

The music is written by the genius of Ennio Morricone, who writes and
orchestrates a varied soundtrack, which lends itself to the various scenes. There is everything: tense soundscapes, epic symphonic rides - directly referring to the "Dollar Trilogy", frivolous and light- hearted moments, all mixed with esoteric sounds.
Given the popularity of the film, its soundtrack has been released several times, but 35 years have passed since the previous vinyl release. A must buy for fans of the Maestro Morricone but also for all film lovers!

Limited edition on crystal clear vinyl

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

Silver Vinyl

Indrajala comes sheathed in a limited edition full-color printed embossed and custom-cut hansaboard sleeve adorned by an artwork painted by @nieidda in collaboration with Rambadu.

Early support by Abstract Division, Ben Buitendijk, Brando Lupi, Forest Drive West, Svreca, Atomic Moog, Deepbass, Ness and Primal Code to name a few.

This is the fifth western in a row for Sergio Leone after the Dollar Trilogy
and "Once Upon a Time in The West"
"Giù la testa" (Duck, you sucker, 1971) is also the fifth collaboration between the
director and Ennio Morricone, which would be followed by "Once Upon a Time in
America" nearly 15 years later, before Leone's premature death in 1989.
Now a world famous and feted director, Leone directed "Giù la testa" an epic film
that tells of the friendship between a Mexican bandit and an Irish explosives
expert during the 1913 Mexican Revolution. With a over two hours running time,
the film has the tones of a Hollywood extravaganza, but it is only occasionally
accompanied by Morricone's music, which focuses more on the romance and
melancholy triggered by the two protagonist's memories.
This score's main theme is extremely memorable and makes this a classic
soundtrack. Thanks to the recurring "Sean- Sean" tune, and the melody sung by
Edda Dell'Orso, a theme that is universally recognized.
Limited 180gr. crystal clear vinyl edition.

In the previous year 1965, "A Fistful of Dollars" by Sergio Leone was a
huge success, and had greatly increased the popularity of the 'spaghetti
western' genre
With the two lead actors Clint Eastwood and Gian Maria Volonte "For a Few
Dollars More" is the natural progression of that movie, and the addition of the
third major star - Lee Van Cleef - a trio that made history in another Sergio Leone
masterpiece.
Ennio Morricone's music is equally important. The Maestro here chooses a 'poor'
registry, consisting of folk instruments such as ocarina, Jew's harp and chimes,
respectively used to accompany the entrance of the three main actors. There is
as usual, the contributions of Alessandro Alessandroni and his Cantori Moderni
choir, for an incredibly exciting vocal climax.
This edition sees the eight tracks of the original score in a brand new layout.
45rpm - Ltd. Ed. Crystal clear vinyl edition, new 12-inch sized gatefold cover.

Repressed again. On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recent signees to Capitol Records; a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

1971 and Black America was luxuriating in the soft soul
of the O’Jays, the Temptations had just left behind their
flirtation with psychedelia, James Brown was
explaining Soul Power, Sly & the Family Stone were
having a Family Affair, and Marvin Gaye was asking
‘What’s Going On’.
• In their own inimitable way, Funkadelic were laying
down their own statement about the ecology of the
planet in the opening of lead and title track ‘Maggot
Brain’, turning it into an elegy for the Earth in the
ensuing heart-wrenching extended Eddie Hazel guitar
solo – one of the most radical records of the period.
• The album also spawned two Top 50 singles with the
usual Funkadelic wry observational humour of ‘You
And Your Folks, Me And My Folks’ and ‘Can You Get To
That’. And just in case you think things have
normalised, the set closes with nine minutes of the
chaotic sound collage ‘Wars Of Armageddon’.
• This 50th anniversary edition includes a second 12”
with two versions of the title track. Side A features the
live version from Meadowbrook from the same year that
the studio album came out. Jump forward 46 years to
the “Reworked by Detroiters” release and side B has
the BMG Dub, showing the enduring quality of one of
the great guitar records of all time.
• This issue is mastered from fresh transfers of the tape.
• Facsimile gatefold sleeve.
• 180gram black vinyl

King of Town (KoT), originally from Johannesburg but now in the UK, is back after a nearly a decade hiatus from his mutant disco-inflected remixes.

Prior to his long break, King of Town remixed the likes of Franz Ferdinand, Slow Club, Alice Russell, the Detachments and the Phenomenal Handclap Band.
His remix of Desmond and the Tutus' 'Kiss You on the Cheek', released on Tigersushi in 2009, has become a regular feature of Spotify playlists and has racked up a few million listens across various streaming platforms.

For this release KoT serves up four exclusive re-edits.

Lord Have Mercy is a retouch of Willie West's slow-burn R&B lament of his own elegiac defiance, where KoT underpins West's groove with a 303 acid bassline and synth flourishes.
Swimming in Your Eyes is a beefing up of Pasteur Lappe's 1979 Rhodes-heavy space disco groove.
Troubles of this World takes OV Wrights ridiculously soulful take on a gospel classic and transforms it into a retro-futurist track aimed firmly at the dancefloor.
And with Khomo Tsaka Deile Kae KoT nods towards his roots and inserts drive and snap into fellow South African Marumo's 1982 kwela-touched stomper.

As always the artwork has been completed by the very talented Pedro Carvalho de Almeida.

Vinyl Only.

Cocktail and power-bossa vibes meet shots of clavinet-funk in the new single by Milan-based producer Larry Manteca, a relentless creator of soundtracks for imaginary films in various genres – from the erotic to the spaghetti western, and from crime to zombie-horror.

Manteca's debut on 7" vinyl could only have happened under the aegis of Four Flies Records, whose team went and hand-picked two of the grooviest tracks in his bulimic output, both recorded in 2015 for the sci-fi/erotic-themed album Mutant Virgins From Pluto (the title says it all!).

"Ufo Bossa" is a delicious, uptempo bossa-jazz number cast in an ultra-lounge style and spiced up with references to Les Baxter's and Martin Denny's exotica, as well as to pop/erotic sci-fi soundtracks like Bob Crewe's Barbarella, with the added bonus of Yasmine Zekri's sexy scat singing. On the flip side you have "Intergalactc Porno Scene", a typical poliziottesco theme where clavinet and flute interweave into a super-funky groove, before synths come in and send us into erotically-charged space orbit.

Available as a 350-Copy Limited Edition 7-inch, and as a Digital Remaster.

David Walters's new album Soul Tropical on French label Heavenly Sweetness is perfectly titled. It is a lush collection of soul so tropical you feel as if you're dancing deep in a steamy jungle as the music uplifts and truly nourishes. It draws on his family heritage in the West Indies and finds David once again singing about this famous string of sun-kissed islands across 13 joyful cuts. These are tracks with rich arrangements and plenty of world instruments making a fusion of disco, zouk, Caribbean, Afrobeat and funk that make a lasting impression. An essential album as summer approaches.

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

The 2LP Great Moments With documents the music of Pharoah Sanders from 1983 to 1990, showcasing both the raw energy and tender nature of his music. It contains 12 of his recordings, including “Africa”, “Naima”, “You’ve Got To Have Freedom” and also the previously unreleased version of “Central Park West”. Featured guest musicians are John Hicks, Idris Muhammad, Curtis Lundy, Benny Golson, Cedar Walton, Ron Carter and more jazz masters. For this compilation, Bret Primack has written new liner notes and Timeless Records founders Ria and Wim Wigt here share additional great moments from Sanders’ sublime work.

Great Moments With is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve.

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

Limited edition colored pressing is for Indies Only. Vinyl housed in a tip-on jacket. For Fans Of... John Carol Kirby, Pharoah Sanders, Bill Evans, Durand Jones & The Indications, Misha Panfilov. Debut LP from Okonski. Features current and former members of Durand Jones & the Indications (Steve Okonski, Aaron Frazer, and Michael Montgomery). Follows the debut single 'By The Lake', a collaboration with Germanbased artist and new Karma Chief signee Pale Jay (500k Monthly listeners). The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio’s members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara “Ish” Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group’s collective intuition to fully shape the melodies and arcs of the music. The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey. Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition. Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

Welcome to the third part of the TELE MUSIC saga, the label founded by Roger Tokarz. He deeply marked the era with his audacity and his vision of music on film. This irresistible new selection tells the story from 1968 to 1985 of a prolific label that sometimes produced ten albums a year, and which delighted many French and foreign film directors who, to 'flavour' their films, drew on this sumptuous catalogue.
In this volume 3 TELE MUSIC, we have highlighted legendary artists who have left an indelible mark on the history of the music bookshop and on the history of music in general:

• Janko Nilovic (also known as Yanko Nilovic, Anady Loore, E. Orti or Alan Blackwell),
• Jean-Jacques Debout with his irresistible “Mitsuko” released in 1967 and re-released in 1969 on “Music Bazaar”, • Bernard Lubat, the impressive percussionist, vibraphonist, multi-instrumentalist and very good “scator” (Bernard played in the Doubles Six with Quincy Jones and Eddy Louiss),
• Gabriel Yared, the man with a hundred film scores. Arranger and composer for Johnny Hallyday and Charles Aznavour, among others!
• Hervé Roy conductor and writer for Nancy Holloway,
• George Chatelain, pianist, guitarist, clarinettist, founder of the famous studio “CBE” created in 1966 with his sister Janine Bisson and his high school friend Bernard Estardy.

All these composers were renowned for their acute sense of composition, arrangement, conducting and inter- pretation, and in their own way left their mark on many sound recordings of musical illustration "made in France!
CBE, the Chatelain, Bisson and Estardy studio is located in the 18th arrondissement of Paris. Still in operation and run by Julie Estardy, it has been receiving major artists for over half a century. It is a place of reference. At the time: Johnny Hallyday, Claude François, Sheila, Carlos, Françoise Hardy, Nino Ferrer recorded their hits there.
Now it's the turn of Sebastien Tellier, Bertrand Burgalat, Keziah Jones, Tony Allen, Jeff Miles to name but a few. CBE and its giant Bernard Estardy put TELE MUSIC in the best conditions to produce an atypical and powerful sound.
Bernard Estardy had a custom- built mixing console built by his German friend Gunther Loof, offering the perfect tool for recording 4 and then 32-track Arp 2000, Moog, Korg, Prophet synthesizers and all acoustic instruments. The field of experi- mentation was limitless.
Until now, the titles of this collection were only available in vinyl format, via rare and expensive prints that collectors sell for a high price on dedicated websites. This volume 3 gives you access to the "crème de la crème" of the legendary repertoire made in France!

Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit. Their records not only played with genre, but possessed a diabolical sense of humour that led to music domination by the late 70s with Parliament, Funkadelic, Parlet, Bootsy's Rubber Band and the Brides Of Funkenstein all releasing albums the same year for two years in a row.

The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else's notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit Techno.

But more than just Techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.