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As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

Until Volume Six takes flight it is time to unbuckle those seat belts folks.

Limited Edition heavyweight 180g Vinyl EP - PURSUIT by KWALIA, available now! Following the success of his 'Wallflower' and 'Cloak' LP's, breakthrough artist Jordan Rakei has teamed up with classical composer Richard Melkonian for something entirely new, releasing their debut EP 'PURSUIT' under the name 'KWALIA'. Joining the dots between their respective musical sensibilities, a hybrid sound incorporating free moving jazz rhythms, Rakei's soulful vocals and Melkonian's Armenian harmonies came to fruition. A deep, melodic and emotive journey, the EP features string quartet, woodwind live band and heavy synths throughout. 'PURSUIT' is an authentic blend of two entirely different musical worlds that complement one another in an entirely new way. Rakei's expressionist lyrics unashamedly explore questions about faith, God, identity and power structures. Several of these themes came about through discussions between Rakei and Melkonian and the musical structures of each track follow this free-form enquiry; ideas are allowed to flow, unexpected tangents form and no predetermined song-form is ever adhered to. Running at 22 minutes in length, the EP is comprised of three long compositions.

"On Pursuit, they continue the fruitful partnership with three-long compositions that meld meandering jazz rhythms with Rakei's achingly beautiful vocal work". - XLR8R

"'The Waves' is a superb fusion of their disparate influences, the mellifluous arrangement in a perpetual state of flux, grinding dissonance leading to soothing ambience.

Jordan Rakei's vocal continually strains against the rules, displaying the same daring that flooded through Tim Buckley's late 60s work." - CLASH

Written and produced by Jordan Rakei and Richard Melkonian

Recorded, mixed and mastered by Rick David at Pink Bird Recording Co.

Lehult 015 serves you class-A Liem & Eddie Ness faux-bangers, neatly packed in a four-tracker on home ground. Crazy groovers from start to finish that have their feet firmly rooted on the dancefloor, lined with the boys' trademark hazy, slightly detached vibe. Liem & Eddie Ness have sunken into a natural groove, and all we want to do is relax and let it flow through us.

Italian duo Neverdogs mint their brand new label Bamboleo Records with a powerful four-track EP that serves as a fine statement of intent.


The label will focus on house, techno and minimal with a funky edge. As well as their own material, it will release big names from the international scene and aims to inspire and generate new emotions for the dance floor.


Up first is the thrilling 'Underground Activity', a dubbed out deep techno roller. It has warm chords bringing plenty of scale to the slick, kinetic drums.


The superb 'Solution' is a more churning, lively tech cut with wobbling hooks and metallic drums. It's one to get the floor moving, with dark vocals finishing it in style.


Keeping up the dynamic dancefloor vibes, 'Stop Talking' slips into a moody and stripped back house framework, with dry hits echoing out into a cavernous atmosphere. With real swagger and cosmic overtones in the keys, it's another excellent side to this pair's sound.


Last of all, 'Destination' is a dramatic vocal DJ tool with broad synths and molten bass all warping round each other.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

Eduardo De La Calle has been doing his thing since the early 2000s, but the last couple of years have seen him move into overdrive. Releases on Planet E, Hivern Discs, Nitsa Trax, Turbo Recordings, Gigolo and Darkroom Dubs to name just a few have shown he is both prolific and consistent, and this new four-track collection is just as compelling as his recent output.rnrnDistortion Theory III is a whirring hypnotic machine jam that melds shimmering synth snippets to mind-bending FX undulations and throbbing low end. Disorientating and wonky as hell, it's the sound of a funky computer malfunction somewhere in deep space.rnrnLight Tunnel continues the theme, coming across like the dying throes of space station spinning out of control due to excessive amounts of sub bass. It's a dizzying, disorientating ride.rnrnAcid Aaron C (Edit) wastes no time getting down to business with its gurgling, incessant 303 line present from the get-go. Shuffling percussion rubs up against heady female vocal lines and wonky detuned 8-bit synth blips, the undercurrent of the track swelling and calming seemingly at will. rnrnThe Dub Math takes things down a notch with hazy sounds and plodding sub bass combining with heavily reverbed vocal incantations which all combine to bring together the vibe referenced in the title.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

Zodiak Commune Records presents the fifth release of the White Cyclus serie. This is also the 2nd edition of the KORE serie called White Cyclus V EP.

After when his first album The Butterfly Effect LP got released back in June 2018, our label resident 1NC1N (NL) is back with 2 Acidcore/AcidTekno tracks. We also introduce 2 new talents in the scene. AboutBlank (FR) has already released a high energetic EP on Obs.cur's Future Frequencies, now we are infected with his Acid frequencies! The last track is dedicated to the young Gelbkreuz (AU). Member of the Multiplan Kollektiv and with his first solo EP on Violent Cases, this time it's our turn.

1NC1N - A Kind Of Mental Accord
A total new chapter from 1NC1N's Acidstory. Turn the pages to understand this mental accord.

1NC1N - The Alchemyst
Deep spiral Acidtekno. The only person that can brings you back from the netherworld, is The Alchemyst!

AboutBlank - Kyubi No Kitsune
Very nice uptempo Acid! He has been proven that the Nine-Tailed mythology is alive.

Gelbkreuz - Deamons Breath
Dark and mental Acid from Gelbkreuz. Don't look straight into his eyes. Never let him catch his Deamons Breath!

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

After More Than A Decade Turning Knobs Around Colombia, Gladkazuka Delivers His First Solo 12": Mucha Pimienta. Across Four Tracks, The Medellín Producer Displays The Lose, Genuine, Take On Machine-driven Funk And Electro That Earned Him The Reputation As An Essential Artist Of The South American Circuit. A Collection That Speaks Loudly For An Otherwise Reclusive Artist, This Record Provides Rare Insight Into One Of Colombia's Most Lauded Performers.

Editorial venture to France for ED025 with four expertly edited, blissful gems from Parisian producer, Chevals.

The A side hits with two hazy cuts of sun drenched disco house. 'Left Behind' swells with filtered tales of lost love radiating a bittersweet warmth. Rich bass melodies and clipped funk guitars shine through as thoughts drift away across glistening seas. 'Eye Of Love' is served up next, equally as impassioned with buzzing synths, basking Spanish guitars and joy-filled chords and congas give a sense of desert islands where day-to-day life is only a figment of the imagination.

Flip it over and 'The Line' hits with a pumped up, soulful bassline that solos and sidewinds with brazen hats as its accomplice. Squelching keys and deft Rhodes touches add luscious harmonies to leave listeners lulled by its masterful flow.

Last up, 'Time' takes a pensive, eyes closed trip - delicate vocals, summery synth lines and glimmering samples washing away the worries as they wander over the airwaves.

Mit - They`ve Given Me Schrott! - Die Outtakes' erscheint nun zusätzlich eine Edition als 3er CD und
5er LP mit den bisher nur in der Seitenhirsch-Box veröffentlichten Outtakes. Vom allerersten
Cassettenrecorder-Demo - Der lustige Astronaut' (1978), über bislang nur auf Vinyl erhältliche Songs
aus der Frühphase der Band, mit - Helgoland' die Demo Ur-Fassung von - Westerland', sowie zig
weitere seltene und kuriose Demos, Radiotracks und Gimmicks, und das oft erwähnte und nie
veröffentliche englische Album.
Anmerkung: Bitte erwarten Sie hier keine durchgängig hochwertige Audioqualität: Diese Raritäten sind
zum Teil Kellerfunde auf Basis von alten Audiocassetten oder Vinylplatten, die aufwendig restauriert
und neu gemastert wurden. Allerdings kann man aus einem Toaster kein Rennrad machen.





















































[ZZA] I5 | Smash the System, fuck the Police
[ZZB] I6 | Nie wieder Krieg, nie mehr Las Vegas! 
[ZZC] I7 | Eine Botschaft von Die Ärzte 
[ZZD] J1 | I laugh if you die 
[ZZE] J2 | Herrliche Jahre (Das Leben ist `ne Party) 
[ZZF] J3 | Yoko Ono 
[ZZG] J4 | Techno ist die Hölle, mein Sohn 
[ZZH] J5 | Worum es geht

Albion Collective's first record release of 2019 celebrates the return of Reso to the dubstep arena, with his four track 'Focus inwards EP', featuring a version from TMSV.

Reso's title track Focus Inwards lures your senses in to a hypnotic state. A hollow, pulsing bass tears through the low end whilst sparkling drums and percussion punctuate a vivid and diverse rhythm, a soundtrack to an outer body experience. Immaculate production.

TMSV lifts the pace with his progressive tribal edit. The addition of woodwind and rolling percussion dance around the acid-step vibe in keeping in vibe with Reso's trip-out OG. Festival music.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

Due to popular demand, 22a presents the out of print Ruby Rushton LP's from 2017, in a deluxe gatefold vinyl format, strictly limited to 500 copies.

The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album 'Two For Joy' in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

Both Trudi's Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ's, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi's Songbook: Volume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

With a brand new album due for release in March 2019, this limited edition, 2xLP, deluxe gatefold issue of Trudi's Songbook: Volume One and Two closes this chapter for the band and paves the way for new material.

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

Music Mania and Indica Dubs is proud to present the eighth release in their Mania Dub series. This happens to be the third LP, following the classic, 'Light Up Your Spliff' (MD003) and new album 'Dubplate Selection Volume 3 (MD006), comes another of the UK Dub scene's most popular producers; Vibronics, with one of their most significant and popular albums from 2000: Dub Italizer. Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

The album consists of some of Vibronics most signature songs, including Jah Music, Positive Direction and On Jah Side! The artwork of the album cover and labels have been kept as close as possible to the original, with minor edits to remove some unneeded information. The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

FSL007 drops from Corkwegian, Berlin-based producer and dj Ellen King AKA ELLLL.
ELLLL has always brought a different cut to bass ans techno music and with Febreeze it sets out into the further realms of breaks, jungle and euphoric rhythms alongside a bass driven tech-house uk funky joint from College Driver G.E.O. Corp.

Febreeze keeps my house clean, I even like the advert where someone is absolutely chuffed getting their nose into a carpet or there old dirty shoes cause basically febreeze had sorted
it all out. Febreeze after this has new meaning to me now. Its that large sound break coming into a sweaty basement club, its the euphoric sounds being supplied to a Sunrise before
deciding to go to bed or stay up.
This is the image ELLLL brings to mind when I listen to the two mixes of her fresh sounding cuts from her latest creation Febreeze.

Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.

First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.

Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.

Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.

So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours

Sincerely,
Maarten & Lars.

TUTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey's life, music and art:
'It's the only album I've made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.'

These eight pieces were originally conceived as the soundtrack to the autobiographical film 'Harmonic Coumaction', and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, 'Harmonic Coumaction' was presented as an audio-visual installation for Cosey Fanni Tutti's solo exhibition at Cabinet Gallery, London.
Cosey Fanni Tutti explains: 'Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.'

On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation. Recorded at Cosey Fanni Tutti's studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey's art activities with her exploration of sound: The album's autobiographical theme is not locked into any specific time or place, the 'voices', instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI' shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.
TUTTI is Cosey Fanni Tutti's only solo album release since 1982's Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto 'my life is my art, my art is my life'.

Cosey's autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow. TUTTI

KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

The latest transmission from Francis Harris' exquisite Scissor And Thread imprint showcases the many talents of Tokyo's Tomi Chair aka Tominori Hosoya. The DJ and producer goes by both names, and here presents five tracks of lush, emotional music veering between ambient excursions and dance floor heaters. The original version of title track 'Tropical Imagination' opens the EP, and is a deep and thoughtful dance floor number. Elegant chords set the tone while the percussion adds a silky funkiness that's impossible to ignore. The 'Dream Version' strips the track down to its pads and atmospheres. Next up is Tomi Chair's 'Heat Exhaustion' - an exceptionally beautiful beatless piece that drifts through droney pads and occasional fragments of minor key melody. Using the Tominori Hosoya moniker, side B begins with 'We Are Here' - another powerfully restrained piece that merges woody percussion with low key pads and field recordings to create a magical whole. Francis Harris adds his touch to 'Heat Exhaustion' with his respectful Reform version, adding skittering percussion and underpinning the piece with a leftfield ambient house edge that builds and builds. Another essential addition to the Scissor And Thread catalog

Available for the first time ever on Limited Edition Clear Vinyl, limited to 500 copies, no re-press. The Seattle group led by Palaceer Lazaro (aka Ishmael 'Butterfly' Butler formerly of Digable Planets and Cherrywine) has surpassed all genre confines and captured the imaginations of spectators. Containing a sublime mixture of funk, jazz, dubstep, and structures un-echoed by the typical style of 16-bar hip-hop, Shabazz Palaces quickly gained critical admiration following an unprecedented string of epic performances across their home city. Shabazz Palaces' music is defiant in the face of musical norms both in terms of sheer musicianship and lyricism. Experimental, innovative, and irresistible, 'Of Light' is sure to be heralded by listeners.

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

This is a special release... Sometimes you just feel right about it... O'girl is Ellinor Jackson P, hailing from Karlskrona - Sweden. Her experiments with freeware on different devices turned up to be a real good Lo-Fi production... And yes! The original tracks has this feeling of a bad mp3 copy, so the Lo-Fi sound you hear at the snippets is aswell on the vinyl too... If you're looking for a high end house 12" dont buy this. If you're looking for something special then you might have a listen to this. A side is the two original tracks and on the B side there is two remixes / edits by VILLA ABO. ==A VERY LIMITED PRESS==

Wonder Why is the highlight from Llorca's greatly overlooked The Garden album on Membran Records. With its Curtis Mayfield inspired vocals, Live Strings and 70's guitars, It has all the ingredients of a classic song. Who better to ask as a remixer than Hot Toddy from Crazy P. He raised the tempo and energy and really made it his own. On the b-side, 2 edits of the original track from Fred Everything, using only the original stems, working the effects and sonics as well as extending the track both in original and instrumental forms.

A never before released version of a truly, legendary house record from the late great Frankie Knuckles...working in collaboration with The Frankie Knuckles Foundation who will receive 50% of the profits from this project, SoSure Music is proud to present the Director's Cut re-production of 'Baby Wants To Ride'. Alongside this, a vinyl exclusive edit by Jimmy Edgar, which was originally a tribute release after Frankie's passing in 2014, finally gets an official release.

2011 saw the launch of Frankie and long-time production partner Eric Kupper's 'Director's Cut' project, with the aim to release new music, whilst re-producing classic cuts to fit with the modern dancefloor. SoSure Music is now working alongside Eric Kupper and Hector Romero, with the blessing of both Def Mix and The Frankie Knuckles Foundation, to bring a renewed focus to some of this material.

First up, the illustrious, evocative 1987 anthem, 'Baby Wants To Ride'. Rightly regarded as a masterpiece of early Chicago house and a pioneering classic through and through. Knuckles and Kupper extend the intro and outro to allow for those sweeping blends, whilst adding deft touches and reprogrammed lines to give a crisper, more detailed feel to this sumptuous slice of definitive house music. Couple that with newly spiritualised vocals and fresh erotic ad libs from Jamie Principle and prepare to rekindle that infectious energy 32 years down the line.

On the B side, Jimmy Edgar showcases his trademark touch to provide a fresh spin on the original whilst staying true to its essence. Reworking the arps, adding atmospheric drops and crunchy percussive elements, whilst holding off on the iconic vocal till the last section, all combine to give this version a unique, big room character that nods to the past, yet reinterprets for the present. A fitting tribute from an artist whose own productions are clearly laced with influence from Frankie Knuckles.

Masterworks Music Rolls Into Town Once Again, This Time With France's Very Own Chevals Firmly In The Saddle. Four Peak Time Disco Edits Of Tried And Tested Dancefloor Anthems, Ready And Raring To Be Unleashed.

First Out Of The Blocks, 'my Feet Keep Changin', Drenched In Uplifting, Gospel Leaning Vocals That Will Have Hands Reaching For The Heavens. Couple That With Dazzling Piano Melodies, A Pulsating Bass And Staccato Strings, Alongside A Spiritual Breakdown That Will Bring About Full-on, Holy Disco Enlightenment. Next Up, A Filtered Disco House Gem In The Form Of 'this Time Is Dedicated To Love'. Shimmering Vocals, Synth Trills And Guitars That Radiate Warmth Combine With Fresh Percussive Samples And Lush Female Harmonies.

Take To The B Side And You're Hit With 'never Will I Leave You Baby'. Sun-kissed, Beachside, Wind In The Hair Vibes - Bringing Back Memories Of Those Warmer Months, Where Everything Just Seemed That Little Bit More Blissful. '80s Synths, Fuzzy Hats, Filtered Phrases And Sweet Chord Progressions In Abundance. Closing Out The Ep Chevals Goes Heavy On The Modulated, Wobbly Synthwork And Rich Bass Tones On 'love Somebody' Before Those Deep, Soulful Keys Take Centre Stage.

Disco Edits Done Properly!

I'm back with another edit; 400 hand-stamped white labels like Mr MacDonald. Make sure you don't miss it! Lorenzo.

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these recordings paint a more complete picture of the band - and of rock in the mid to late 80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom dust sleeve and digital download code.

From Their Unassuming Origins As A Group Of
School Friends Drawn Together By A Shared Passion
For Music To The Global Touring Force (supporting
The Cure And Editors At Arenas And Stadiums) They
Have Quietly Become, The Twilight Sad's Ascent Has
Been Forged The Old Way, With Grit, Graft And Four
Exceptional Studio Albums.
Now Signed To Mogwai's Rock Action Records, The
Band's Fifth Album Does Not Disappoint And Will
Certainly Please Fans Of Their Previous Works. It Will
Also Appeal To Fans Of The Cure, Frightened Rabbit,
The National, Interpol And Editors.

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

OVER THE LAST 20-PLUS YEARS, ED UPTON HAS RELEASED AN INCREDIBLE AMOUNT OF MUSIC ON A RANGE OF LABELS, INCLUDING THE AFX'S REPHLEX. UNDER HIS BEST-KNOW ALIAS, DMX KREW, THE BRITISH PRODUCER ADDS ISTHEWAY TO THE LIST. NO OTHER INTRODUCTION NEEDED!