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Electronic Leatherette is the new label from Riga based producer Dmitry Distant. After years of making electro and wave music he decided to create a new story and run his label. With a first release label provides a series of 4 basic nature elements. As a fundament of everything this release is dedicated to element Earth and can bring you though atmosphere of esotoric electronic music within guides from Vessel in Distress, Heinrich Dressel, Franck Kartell and new comer name from same planet MSRG. Enjoy your travel and sound scape.

Pressure is a new garage project produced by Dusky. Still typically resemblant of their trademark sound, this musical excursion looks back to their formative years and early productions that were heavily influenced by UK and US garage. Covering everything from murky 2 step sounds to uplifting vocal bubblers and soulful US influenced 4x4, the project includes collaborations with Manchester's garage revivalist Interplanetary Criminal, two-step pioneer El-B and London-based songwriter Mariella.

"When we were writing our most recent album JOY we really enjoyed the process of creating 'Eros', one of the more garage influenced tracks on the album. It reignited our interest in the genre's sound world, so once JOY was complete we got stuck into writing a load of similar material and this project is the result.” - Dusky

Limited Edition 7" RARE-VINYL COLLECTION
Dynamite Cuts 45s series has only gone and licensed two wonderful Brazilian Jazz fusion tracks by Hector Castito. These gems are from a hard to find jazz album first released on the Som Da Gente record label. The album 1981 has become must harder to find, I've always loved these records and to be able to include them on the DYNAMITE CUTS 45 SERIES, is a dream, so happy. Please see back and enjoy the wonderful sounds and vibes you are about to hear.

After the success of the Pan Machine album that saw the Ebony Steel Band cover Kraftwerk, OM Swagger’s Ian Shirley was desperate to work again with the talented Delphina James who arranged the tracks on that fantastic LP.

Shirley had the idea of interpreting the works of famed contemporary composer and pianist Ludovicio Einaudi through the prism of the steel pan.

Delphina James wrote out arrangements for classic tracks like I Giorni, Passaggio and Samba as well as lesser-known works like Moto and Respiro. She then formed a trio comprising of Tara Baptise (three pan cello), Nadine McCleary (bass) with herself on Tenor and set to work rehearsing the material. Once the trio mastered the material, James took it upon herself to write and arrange the track Siempre Conmigo as a tribute to the Italian piano master.

Produced by Ian Shirley, Play Ludo was recorded at the internationally famous The Pool studio in Elephant and Castle.

Anyone who enjoyed Pan Machine will love this. Fans of Ludovicio Einaudi around the world will rejoice in hearing the master’s work interpreted in a totally different musical setting. Respiro, for example, takes Einaudi into ambient electronic territory even though the instrumentation used is acoustic.

Like Kraftwerk, Einaudi’s music sounds like it was written specifically for the steel pan.

American singer, actor, dancer, and civil rights activist Eartha Kitt was
celebrated for her highly distinctive singing style
Her recordings of "C'est Si Bon" and the Christmas novelty song "Santa Baby"became instant classics and are presented here along with many other hits.

Limited edition audiophile pressing on 180gram premium vinyl.
Eartha Kitt epitomized the idea of the sex-kitten chanteuse, rising to fame with a nightclub act centred on her slinky stage presence and her throaty purr of a voice. As much as she enjoyed vamping it up, she also projected the image of an exotic international sophisticate. She brought a definite zest to her torch songs and Orson Welles once called her "the most exciting woman in the world".

Eartha Kitt , lead vocals on all tracks,

plus: Henri René Orchestra,
Maurice Levine Orchestra,
Shorty Rogers Orchestra,
Anton Coppola Orchestra.
New York, 1953-59

There is a perfect match between Dario Argento's film and Goblins' music
in "Profondo Rosso" (Deep Red), both made in 1974 - and then released
the following year - when both artists were living in a period of maximum
creativity: their fortuitous meeting produced two masterpieces, one
cinematographic and one musical, a source of inspiration in the decades
to follow
The music of "Profondo Rosso" was originally commissioned to jazzman Giorgio
Gaslini, a former Dario Argento's collaborator who wrote the songs on side B of
this LP, but was soon entrusted to four young musicians from Rome: Claudio
Simonetti (keyboards), Massimo Morante (guitars) , Fabio Pignatelli (bass guitar),
Walter Martino (drums). The legendary theme and sinister melodies of the title
track set a new standard at the time for film music, not just in the thriller / horror
genre, and thanks to their dazzling debut Goblin enjoy international fame and
respect until today. An essential masterpiece for any lover of soundtracks and
cinema, Italian music, progressive rock, jazz- rock and much more. A piece of
History, reissued in a faithful reproduction of the original 1975 version. 180gr.
clear purple vinyl edition.

In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB.
The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover…
Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler!
REGGAY UNDERCOVER is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s.
We hope you will enjoy listening to this album as much as we had composing it for you.
All aboard for REGGAY UNDERCOVER!

Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott

Hayley released her highly anticipated sophomore album ‘PANORAMA’, on 29th July 2022 on CD, & vinyl 3rd March 2023. Co-written by Hayley and produced by Kiyoko, Danja (Beyoncé, Britney Spears) and Pat Morrissey & Kill Dave, the transformative 12-track collection featured previously released singles, “For The Girls,” “Deep In The Woods,” “Chance,” and “Found My Friends”

“I went through a period of time after my last album where I'd lost my confidence and my self-worth. Thankfully I was surrounded by friends and family who kept me grounded, always supporting me in my lowest moments and reminding me who I was along the way. ‘Panorama’ was the last song I wrote for this album, in a moment of clarity to enjoy the present and not let my trauma define me. One of my favourite lyrics from this song is ‘I’m done confusing all these ashes with my worth,’ which is a metaphor for when we measure our own value only by our struggles and hardships, but in reality, our worth is unwavering. We just need to give ourselves the space to appreciate the highs and the lows of this beautiful journey.” – HAYLEY KIYOKO

In 2018, Hayley was at a high point. Following the success of her gold-certified anthem “Girls Like Girls,” Hayley’s landmark debut album, EXPECTATIONS, reacted with tastemakers and a legion of fans. Hayley resonated with a newfound community who brought her total streams to just shy of 1 billion as she sold out tours on multiple continents, lit up the stage at Coachella, and picked up “Push Artist of the Year” at the MTV VMAs.

Since her 2015 debut, Hayley has amassed over 606 million+ career WW audio streams, 507 million+ YouTube lifetime video views, and over 6 million followers across socials, notably 1.9m on Instagram and 1.7m on TikTok alone.

Repress!

“This album has been built, robbed, destroyed, rebuilt, held up, postponed, cancelled, shelved, bootlegged, analyzed, exploited, slept on, supported, patiently awaited, and appreciated, long before you got your hands on this slim neat little package.

This collection of thoughts, songs and relationships has literally been on the verge of completion since 1997. It was intended to finally be released in 1999. Most of the songs were written between 1995 and 1998. However, from the first to last verse, it reaches as far back as 1988 and stretches forward up to 2001. Throughout this tedious, relatively arduous process, the people involved in this project have successfully delivered the intended message that was conceived, forged, and galvanized through its delivery. The understanding is the best part. Enjoy!”

Originally intended for release in 1999, The Best Part was shelved multiple times due to label politics, until it was finally released in 2001, as J-Live points out in his prologue above. Now it’s getting the much deserved re-issue treatment.

With an All-Star production team featuring Pete Rock, Prince Paul, DJ Premier, DJ Spinna, 88 Keys & Grap Luva, along with J’s crafted and precise lyricism, this is one not to miss!

Superb mental Nederland acid traditional sound...
Pure jewel of a kind :!!

ENJOY !!

Murmuur is audible in the dark only.
And shall be listened at high volume.
A side brings 180 BPM 45 RPM mental Industrial Hardcore... The flip goes Doom and Downtempo with atmosferic drops... landing on a thick fat pityless kick ! And then will come the last tune : a double tempo Doom thing, sober and apocalyptic !
All in one, Murmuur brings massives kicks & extreme sound designs. This reminds me a bit of Hangars Liquid sound...

Splendid bi-color plate (B&W), coming in a gatefold sleeve.
Records are sealed.

Expensive record for a single but really was expensive and also... shipment and customes from Australia were crazy...
Records' sleeves arrived in perfect condition to us :) That's already a good news ^^

ENJOY.


b A2 Death In The Forms Murmuur Remix

Paul Kelly, who died in South Carolina in 2012, only ever had one genuine 'hit', ”Stealing In The Name Of The Lord” in 1970, despite a recording career that lasted the best part of three decades. He also had the misfortune in later years to be confused with an Australian singer of the same name.

He was, however, a singer and writer of unusual and undeniable talent, and in the first half of the seventies -a time when his songs were in considerable demand- cut two of the greatest of all soul LPs down in Nashville, “Don't Burn Me” and “Hooked, Hogtied & Collared” with long-time mentor and producer Buddy Killen, on which the two self-penned tracks on this single initially appeared.

It is the first time either of them have been featured on a 45. “Tremble” is a lovely relaxed dance side, bathed in shimmering strings, while “Come With Me” flows effortlessly underneath Paul's sublime aching singing. Enjoy!

A matter of pace, an analog memory…
Feel safe: like newborn, take your first careful steps on a clean slate while Maayan is your supervisor. Naïve and happy, you leave carbonbon footprints on your way into the positives. Then a faster pace: some tribal folk music from a tiny world, where people dance around an LED fire, commands a gallop to the one and ollam. Latinfection guaranteed.
Your nonplus motion interferes with environmental geometry. A memory from an analog past flashes like a daydream. Upward and rising, your smile workout succeeds while scintillating waves say “hello!”. Having grown up to a motorik being, the determined goal however never appears. The journey into a perfect storm is the reward. Maayan sends you some motivating words.
Then have a break and jump on the light train of thoughts to enjoy blurred reflections: on the water and in your mind. Sing your body beautiful and free. Words come in bubbles, a heart-throb away from a light tower. Feel like stumbling into new adventures on a pathless terrain.
Slowly and cautious, the novemberme, which is the one that approaches dawn, celebrates tristesse with a funny accent. Kick the blues with a beat. Somewhere lost but regenerated, find sisyphos’ generator of vitality. A nascent religious mood at the Autobahn service station fades into the fog.
Finally, the circle of pace is almost closed. After laughter of amazement, Maayan leaves you with a soothing mantra of confidence: an everyday ritual fun you should indulge yourself in. It comes in waves.

Cream Colored Reissue

Kolonel Djafaar"s "Cold Heat" packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records. Kolonel Djafaar"s debut release for Batov is an all-killer-nofiller EP. On "Bactrian Camel"" the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen"s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

The Ethiopians was one of Jamaica’s most popular bands during the late ska, rocksteady and early reggae periods. As a much loved harmony group. After a series of major ska and rock steady hits, the group began working with producer, Karl ‘J.J.’ Johnson, with whom they subsequently enjoyed some of the biggest reggae sellers of the late sixties and early seventies, most notably ‘Everything Crash’, ‘What A Fire’, ‘Feel The Spirit’, ‘Hong Kong Flu’ and ‘Woman Capture Man’. The Reggae Power album is chock-full of these tasty melodies and rhythms and comes wrapped in a cool sleeve photo of future Carry On Girls actress Pauline Peart.

Reggae Power is available as a limited edition of 750 individually numbered copies on solid orange coloured vinyl.

Derrick Morgan ia one of the greats of Jamaican music, he is the undisputed King of Ska.
But his recording career dod not stop in 1967 when the sound of Ska slowed down into Rocksteady.
Nor did it stop in 1968 when Rocksteady evolved into the early sound of Reggae.
The set you have here was first released in 1974 when Reggae was King,the album carried the name 'In the Mood'..but also had the working title 'This is Derrick Morgan'.
A title in the world of Reggae carrying the moniker would normally be used to introduce new singer and be his showcase album.
In this case in could be used to reintroduce the singer Derrick Morgan to the new Reggae sound.
But we feel someone of Derrick's calibre needs no introduction as his voice works on any rhythms put his way.
So sit back and enjoy one of the greats of Jamaican music showing the world with the help of producer Bunny Lee that he can roll with the Reggae sound....respect...

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record.

The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

After releasing their highly anticipated singles "This Is Going South" , "Dive Deep Down" , "The Problem"and "Bad" earlier this year,Stockholm based unit DULL.The Album contains everything the die-hard fans of early 00"s alt rock could ask for - the down strokes, theguitar melodies, the sing-along chorus and an intensity that only keeps on increasing throughout the relativelyshort track.Canan Rosén, guitar and vocals, on their new single:"This track deals with that feeling you get once you see someone for who they really are and realize what a loserthis person is and always has been. There"s too many people who claim to be something they"re not or claim todo something they can"t. Time to come down off your high horse and face reality!"The members of DULL are no strangers to the Swedish rock and punk community. Hailing from acts such as Dead Vibrations, Twin Pigs, Tiger Bell, Mary"s Kids and Boris and The Jeltsins DULL are certain not to be dull at all. DULL consists of: Canan Rosén - Guitar/vocals Max Lindén - Bass Louise Erdman - Guitar/vocals Elias Jonsson - Drums DULL manages to take an uneven combination of alternative combination of alternative rock, punk, and Indie and turn it into something that works. Works pretty damn well. Don"t be dull, enjoy music!

Ross Gentry takes charge of the first Ceremony of Seasons release and the music on it has been specifically written to "be paired with Sink into Seclusion, a Mendocino grown, amphora aged, skin contact Sauvignon Blanc wine." Though it might go well with wine, it works just as well on its own as a pastoral, subtly shifting ambient album with delicate pianos unfolding over sustained chords. Moods fluctuate from cathartic and dreamy on the opener to a little more unsettled and tense on 'A Shadow Decade.' How so ever you enjoy this record it is one that makes a lasting impact.

The debut studio album of American hip hop group Grandmaster Flash and the Furious Five, originally released in October 1982 on Sugar Hill Records and featuring arguably the most influential hip-hop single of all time in “The Message”, together with “Scorpio” - one of the greatest electro recordings ever produced.

A gritty, plain-spoken and vividly cinematic portrait of black street life in New York circa ‘82 and a fascinating time capsule of rap's early attempts with the album format - this album earned respect on its own terms.

Out of print for many years, we are very pleased to make this iconic and revered hip-hop album available again for fans old and new to enjoy.

Yellow Vinyl

Message of the Artist:

“Before becoming a producer, I grew up with labels such as Cenobite, K.N.O.R., Cold Rush and Ruffneck Records; this emblematic 1990s hardcore sound has influenced me heavily, even though it has never explicitly featured in my music. But I feel it’s time to return from exile, and so I have started to dig up the relics and present my interpretation of that great style: The energetic kicks, the sweeping sounds, the samples. Enjoy my piece of modern arkaeology!”

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

Both a wonderful vocalist and fine bassist, Leroy Sibbles initially gained fame as the lead singer for the Heptones. The trio began at Caltone, then became stars when they moved to Studio One in 1966. They were accomplished at both rocksteady and reggae, and Sibbles' wondrously soulful leads and excellent compositions were augmented by his smooth, hypnotic bass lines, which were reproduced on numerous Heptones knockoffs and versions. Unfortunately, a once musically profitable relationship soured, and the Heptones left Studio One under bitter circumstances in 1971. Afterward, Sibbles enjoyed a successful solo career, but retained his bitterness toward Dodd and Studio One. He remained with the Heptones a couple more years, and their 1973 LP, Party Time, was an international reggae favourite

Repress!

Just over a year after his last solo project on The North Quarter, FD returns to the label with ‘Pleasure Rooms’. For this four-track EP, the London-born producer once again shows off his bass line dexterity, along with his trademark grooved percussion and mood-building samples. Heavier, grime-reminiscent tracks ‘Shawn Kemp’ and ‘Mama Told Me’ featuring Bristol MC Hella are combined with a more melody-driven, colourful sound present on ‘Double Drizzle’ and ‘Sails’. Following the major success of his minimal, experimental project LIN000 with Satl, this EP further shows the wide-ranging progress FD has been making in recent years.

Named after the Tottenham venue where FD went to his first rave, ‘Pleasure Rooms’ pays homage to the place that spawned his love for Drum & Bass. FD: 
“Pleasure Rooms was an old rave venue in Tottenham. My main memory is seeing Brockie & Det in a small room, sweat dripping off the ceiling and columns with mirrors on, totally fogged up. And going fucking mental. Being totally immersed in the music and the vibe, super excited and just hyped.

My Pleasure Rooms EP was made with thoughts of these kind of raves and parties in mind as this is a vibe and sound I've been enjoying quite a lot again recently - and it was such an important time for my love of Drum & Bass.

Debut EP from Berlin / Boston based SL Jung. "A Mirror" is a jazzy and dubby Deep House bomb. B side starts with moony but groovy Tech House. Followed by a Dub Techno excursion: Enjoy the "Day Out!"

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

Rubinho E Mauro Assumpção's 'Perfeitamente, Justamente Quando Cheguei' has to be up there as one of the finest Brazilian-psych-folk-MPB records we know. Unfortunately, it's very hard to find in the wild; even on digging trips to Brazil, an original copy rarely shows up, and when it does, it comes with a hefty price tag.

This highly sought-after rarity was released on the Brazilian label Tapecar Records in 1972 and is the one and only album by the sensational pairing of Rubinho and Mauro Assumpção. Effortlessly blending folk, MPB, funky-psych, rock, and relaxed, swaggering samba, this record ought to be heralded as a true Brazilian classic. However, maybe due to its scarcity and the previous reissue predominantly being only available to the Brazilian market, it has not had a chance to fully shine and find the wider audience it deserves. Through our reissue we hope to put things right. Fans of records by Milton Nascimento and Lô Borges are sure to enjoy the same magic and allure in 'Perfeitamente, Justamente Quando Cheguei'.

In addition to being the album’s songwriters, Mauro Assumpção took on the role of producer and Rubinho was co-producer as well as playing piano, organ, acoustic guitar and performing vocals. The record features the drummer Gegê who worked with Milton Nascimento, Edu Lobo, Nana Caymmi, Dom Um Romão and more. It also features guitarist Rick Ferreira, who played with Erasmo Carlos, Gal Costa and other greats. Rounding off the players on the album are Darcy Da Cruz and Formiga who have graced many a fine recording on horns.

'Perfeitamente, Justamente Quando Cheguei' is a truly stunning work that washes over you with beauty. Delve in and savour.

New family members Loris S. Sarid & Innis Chonnel summon a long-overdue return to the 12th Isle with an album built around percussive sounds taken from various mic-ed up objects found in a wood workshop on the East Coast of Scotland. With the pair occasionally leaving said workshop to enjoy some respite in Innis Chonnel’s horse box / studio, the artists hatched a plan to process and program their field recordings, later combining them with improvised synthesiser rhythms and overdubs. The tracks began to materialise over the course of a few follow-up sessions by which time saws sang and flutes flowed through watering cans. Shortly afterwards they found their way to us via carrier pigeon on a CD-ROM that smelt vaguely of soiled hay and we knew we had to act.

Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

White Vinyl Only
Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

With 'The Sentimental Swordsman' Farron slips into the role of his ambient moniker Quiem, telling the emotive story of a man who has lost everyone dear to him and seeking to find inward peace, appreciation, a feeling of security, and his capacity for love.

At the beginning of this narration, The Sentimental Swordsman wanders around with no orientation, feels empty and shows his vulnerable side in 'Strayed And Aimless'. A solitary life with a focus on himself and his modest requirements.

But just one mysterious encounter can change it all. 'You Looked So Pretty On My Balcony' describes the presentiment of lightness and a gentle breeze received through the presence of the new acquaintance.

The Sentimental Swordsman still feels insecure on his journey, but he is not alone anymore and he can somehow feel a warm and buoyant glow in his breast. 'Your Singular Courage' underlines the good intentions, harmony and trust slowly building up between them.

From now on, fights are taken side by side, individual crises are resolved with the mutual support of each other and risks are taken together. A new team has been formed that seems to be unbeatable. This intimate relationship is presented by the vibe of 'My Tiny Engine'.

They are lightheartedly taking steps into an auspicious future together and enjoying each others company. But the enemy doesn't sleep. It slowly grows. Evil bubbles up, it comes silently and attacks sneakily. 'On My Mother's Birthday' describes the wounds resulting from a craven ambush that leaves nothing but pain and pure emptiness. Snatched from this new life. Unwonted silence. Feelings of guilt. Fears of loss. A 'Trauma And Its Clutches'.

Born of the overarching World of Darkness and the tabletop phenomenon Vampire: The Masquerade, Bloodhunt is Sharkmob’s thrilling spin on the multiplayer action genre that sees players take part in a ruthless war between vampire factions.

Bloodhunt boasts a sonically rich score sired by acclaimed Polish-Bulgarian composer Atanas Valkov, and featuring the Sofia Session Orchestra & Choir. The city of Prague provided much of the aesthetic inspiration for Bloodhunt’s soundscape: classical and romantic, yet with many a shadowy corner in which a vampire might secrete themselves. Valkov enjoyed creating contrast between modern

electronic musical elements and old world ones, as well as layering guitars and using irregular rhythmic structures. The overall soundtrack is both cinematic and brutal.

This deluxe double LP set features a deluxe gatefold sleeve (individually inkjet numbered) and printed inners dripping with stylish artwork by Sharkmob. 16 tracks have been mastered specially for vinyl, and pressed onto heavyweight, red and transparent LPs with a cloudy effect. Also included are composer liner notes.

Kinzua are Lucas Brell and Marvin Uhde (known as Qnete to some), great live band. “None Of The Above” is their debut album. Powerfully introvert and extrovert at the same time. Songs of glory, decay, rebuilding and hope that found Offen at the right moment. Many moons later the album withstood the test of time and can be enjoyed in its whole glory.

Written & produced in different spheres by Lucas Brell & Marvin Uhde at CSG Studios, Leipzig and M90 Remise, Berlin.

Voice on „The Dancing Snake“ by Giulia Fournier-Mercadante (Gigi FM) with words from „Les Fleurs de Mal“ by Charles Beaudelaire

Mastered by VRIL
Artwork by Himbeer Pepe
Sleeve by Percy

Hear the immortal sounds of Elvis Presley rockin' the USA from Virginia to Rhode Island, through to North Carolina and Nevada. Greatest Hits Live is
a stunning set that charts his colossal, hitmaking journey from his formative years in Memphis to a worldwide stage as the King of rock 'n' roll. This
is a golden opportunity to hear these legendary hits performed in their heyday, live on stage, in front of his adoring fans. As one of the most
renowned cultural icons of the 20th century, Elvis may have 'left the building’, but he's here in all his glory for a new generation to enjoy. '‘til we
meet again, may God bless you. Goodbye.'
Get Yer Vinyl Out brings together these greatest hits performed by the man himself during his reign in the 70s as the all-time king of rock ‘n’ roll.
Superb, professionally remastered original broadcasts, pressed on Eco Mixed 180g Vinyl and presented in a deluxe gatefold sleeve with background
liners and timeline photos.

His debut EP on Amen Brother and for this release, he went for a different approach to our usual kind of release. This EP has been created to sound like recording of a rave from the early 90’s. Back in the day, tape packs and bootleg cassettes were common place, where raves from all over the country could be enjoyed at home, especially by those of us who were too young to attend. They were like currency, traded with mates at school or sent to friends in other parts of the country by post.

Tony Justice kicks you off at the start of the rave, interlinking all the tracks by extracts of various raves so the release runs smoothly (for the digital we chopped the EP into 4). You are then asked to leave… but quietly. And don’t go looking for any free parties in Bournemouth!

Sit back, light a fat one and let this ep take you on a trip…

 ‘Silent World’ is perhaps the most personal album
of drummer, composer and bandleader Wolfgang
Haffner yet.
 A master of clarity, focus, and reduction,
accompanied by Dominic Miller, Nils Landgren, Till
Brönner, Bill Evans, Rhani Krija, and many more.
 ‘Silent World’ is about the essentials of being
human, a message which Haffner signals clearly
with concise track titles such as ‘The Peace
Inside’, ‘Hope’ or ‘Belief’. Sometimes we’re in the
world of hymns, sometimes of dreams, but there is
always a melody to be grasped and a pulse to be
felt, and those points of reference give a basis for
the listener to focus and to enjoy the music
thoroughly.

Big second Ep full-Baorx !

A banger of Pleasure... pure Acidcore made in paris :)

Enjoy

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.