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Epic, panoramic, and intimate all at the same time, the legendary Toronto collective Broken Social Scene. An ideal artist to soundtrack an evening. Their live set was captured, mixed and mastered in real time via the world's only live venue and direct-to-acetate lathe cutting studio. Third Man are very excited to invite you all to be a part of this live recording in the only venue in the world where performance, art and tactile transcription methodologies converge... //// Third Man Records had the pleasure of hosting the legendary Toronto collective Broken Social Scene began as an ebbing and flowing collective of artists in the late 90s, collaborating to create a distinct strand of indie rock that is both perplexingly maximal and straight-up catchy. The band kicked off the set with emotive fan favorite "Cause = Time", then transitioning into "Stay Happy," the lead track from 2017's "Hug of Thunder," in all it's hypnotic, horn-driven grandeur. Then, on the flip side, the album's 2-song B-side wraps with the slow-build anthem "It's All Gonna Break," a song once described as "Bob Seger on acid." Really, how else would you want a show to close? With the release of this live album, Third Man is very excited to invite all to be a part of this special experience, Broken Social Scene's first commercially available live album.
First commercially available live album of Broken Social Scene's cathartic live show - Recorded Direct-to-Acetate, a hyper-direct analog recording method which is, globally, only available at Third Man Records - Features new hits (Stay Happy) and fan favorites (Cause = Time, It's All Gonna Break) Album Focus Track - Stay Happy (Live)

‘Rock Sutra’ is the new space rock album from Sun Araw.
 ‘Roomboe’, the first track, illustrates this process.
Experience is elastic. Humans alive right now tend to think
there is some sort of ‘baseline’ experience of a thing, a
room, a person, a feeling, some version we all agree on.
This isn't true at all: experience is completely dependent
on the quality of attention of the experiencer. There is a
granularity to experience that, when tuned up, reveals
deeper and deeper space inside of things. When you zoom
in (by pure observation: by not-articulating, not-thinking),
you create ‘room’, you make space. Just like that. For
instance, ‘Roomboe’ has an extremely limited tonal
framework; about 9 notes for the main guitar melody. As
the guitar pushes against these melodic limitations with
continually renewed attention and energy, it begins to
create space around itself. And all of the sudden (at about
4:57), out of this constriction, space balloons up from
everywhere simultaneously. ‘Roomboe’ is a clue about how
to open a portal outwards into free space.
 ‘78 Sutra’ is about orbital motion. ‘Catalina’ is about taking
a walk. ‘Arrambe’ is about a peculiar feeling you can get
when you zoom in far enough. The music is offered in a
spirit of generosity and adventure; it doesn’t stay put and
it keeps zooming in to reveal more and more.
 The album was recorded live-to-midi with the band and
this is the first Sun Araw album recorded like that. That
band is Jon Leland on drums and percussion and Marc
Riordan on synthesizers and Cameron Stallones on
synthesizers and guitar and vocals.

Rio meets Romford on Forest Law’s EP, the Essex-raised, London-based artist’s debut on Gilles Peterson’s Brownswood label. He was first discovered through Future Bubblers, Peterson’s programme for new and unsigned artists, and this release is an assured introduction to the singer and multi-instrumentalist’s tight, groove-driven sound.

The EP features Esa Williams (Soundway, Rush Hour) on the berimbau on ‘Keep an Eye Out’, his mentor through Future Bubblers and bandmate in Esa’s Afro-Synth Band.

A bright, Brazilian-tinted sensibility runs through every track which Forest Law creates. From Hornchurch, Essex, and now based in London, he makes warm, eclectic compositions in his garden shed. He takes groove as his driving force, building outwards in kaleidoscopic directions.

Lisbon pals Photonz and Shcuro are two of the city’s most active DJs and music makers, sharing a penchant for a moody yet electrifying brand of dance sonics. They’ve created Shermanworx together in the studio, recording machines live using an ethos of improvisation while relying on their fine-tuned dancefloor intuition. The Sherman Filterbank was the go-to piece of equipment, appearing in every track and eventually naming the EP. Tribal techno swirls menacingly backed by dark melodies in the opening track, a hypnotic yet vivid peak-time belter that could go on and on. A synth so textured you can almost touch it is the centrepiece of Sherman2, another driving club beast complete with modulated arpeggios and industrial-tinged percussions. The record comes to close with a dreamier exercise in Sherman3: a dubby electro beat conducts melodic mutant synth lines and pads to achieve a slow-burning, expansive euphoria.

As peaktime rollers go this little limited edition hand stamped number is about to take the crown as the flushest of them all.

A thumping beat, a heavyweight bassline and a vocal that’s got more sass than you can shake a stack of dollar bills at.

It’s big, bad and about to storm every club with a sound system heavy enough to handle it.

Very limited Handstamped, one sided vinyl biz that’s bang on the money.

Repress

Melodies Of Ancient Beats Depth or Deep, (with Dep also meaning beautiful in Indonesian) is the meaning of this newly created persona from the artist DemoDc. After many years of experimenting with music making, releasing digital eps and albums, Demo has come to an end of a cycle arriving to a mature state of craftsmanship, ready to deliver his dream onto the vinyl medium.

This is the 2nd ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Everything Eye Love is a piece of electronic music that embodies much of what is personally loved when it comes to innovative techno. Broken beats with a gentle gallop of hop, whisking away into what seemingly can be taken as over melodic madness at 1st, yet when letting go of any expectation, a delightful swim of glistening magic dances with dedicated playfulness expressing a deeper emotion of heart felt delivery. Behind the scenes are a very reminiscent display of Detroit techno chords combining to give the track the old yet new skool vibe. Heart Tribal, is exactly that. Cutting through the ego, battling the darkness with dark undertones seeking to find the jewel of light through the denseness of dark reality, to find true centre. With tribal reflections and electric ground of beats, Heart Tribal extends itself into bridging the soul from dense reality into light. It also pays respects to the fact that when finding clarity in any given moment in everyday life, it doesn’t last long within this complex world of manipulation and dark intention that we seem to be living in. However, this is the meaning understood by MOAB DEP, does it resonate with you? Or does it speak to you entirely differently?

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

Just act like it didn’t happen…
Reznik & Mikesh crack open a fine vintage bottle of conspiracy with the scorching truth bomb ‘The Moon
Landing Was A Hoax’. Following their remix of Telepopmusik last year, the freshly-formed duo of
Keinemusik affiliates deliver such an acid weapon Justin Strauss insisted they release it after it caused
total Panorama Bar meltdown for him.
In case you missed the inaugural edit, ‘The Moon Landing Was A Hoax’ takes off with pure 303 bounces
before sharp vocal cuts pepper the mix leading to a heaven-opening breakdown. Total euphoria; it’s so
powerful it totally misses the lunar landscape and spins us back around our own planet faster and faster
with every emphatic layer. Reznik & Mikesh’s ‘Area 51 Infinite Mix’ adds three more minutes of feels,
creating this immense drama that sits somewhere between Chemical Brothers and Two Lone
Swordsmen.
It’s backed by a giant leap of a remix by Justin Strauss himself. Teaming up with Throne of Blood’s Max
Pask, they take it up through the gears, ramping the rolling acid tension until the last two minutes pays
out the euphoria jolt we’re waiting for. File under rocket-fuel.
There are no small steps elsewhere on this trip either; ‘The Nostromo Swerve’ goes intergalactic with
such tense, epic acid techno thunder it could dodge entire black holes while ‘Kiss My Axe’ goes all-out
Stingray-style electro with its gravity-defying breakbeat swing and sweeping layers of melancholy
synths. Total celestial immersion: in space, no one can hear you scream, dream or even make up
hoaxes… Happy landings.

You learned that there are genres. Everything separated into categories with their own canon and rules: Major, minor, 4/4, 6/8, highs, lows, high head, butt end. Techno here, Disco there. You learned that art and music are two different things. Visually auditory, audio-visual, optically acoustic, not to mention the surface feel. Listen to me, look at me, touch me. But everything in that order please! You have learned that understanding takes you further. Night / life, rhythm / dancing, substance / excess, water / holding out, sleep / rest, headache / not good. But what would it be if all of that wasn't just right? If all of our knowledge is based on the mistake of having to put everything in relation? To classify it, to make it responsive. What do we do with something that doesn't follow the rules of this logic? That is not based on 0 and 1 and therefore not bound to our binary systems? Is this all at once? After all, what if the whole thing has no limits?

Jens-Uwe Beyer recently released the Yellow Book with Albert Oehlen on Gagosian and on his own label Magazine. He also runs PNN and Schalen. His 4th album „Horizons“ as Popnoname is the very first long player to be released on Cologne based label Feines Tier.

The Devonns dust off the golden age of 70's Chicago Soul with their self-titled debut album on Record Kicks. Straight from the streets of Chicago, Illinois, The Devonns (pronounced "De vaughns") are the brand new soul outfit and the latest addition of the Record Kicks' family, whose self-titled debut album that drops April 03, is an assortment of influences taking us back to the heyday of soul.

Drawing influences from bands such as The Dramatics, The Isley Brothers and Leroy Hutson, yet bringing in their own unique modern twist, influenced by artists such as Jamie Lidell and Raphael Saadiq; singer Mat Ajjarapu explains how unintentionally, the rich heritage of Chicago's history with soul music influenced him.

"The city was at the epicentre of a lot of good music back in the 50's all the way to the 80's, a lot of the labels specialising in soul were based in the Chicago and we even had our own sound known as "Chicago soul". Through several years of crate digging it surprised me how many songs I loved were recorded in this city, for example one of my favourites is this great little song by The Natural Four, produced by Leroy Hutson 'Can This Be Real', and released via Curtom Records."

The band started in 2016 after multi-instrumentalist and songwriter Mathew Ajjarapu dropped out of med school and found himself unemployed and drifting. Listening to music constantly at the time, he found inspired to put a band together and create his own music. Pairing up with some of the best musicians Chicago has to offer, he founded The Devonns: the rhythm duty is entrusted to Khalyle Hagood (bass), Ari Lindo (guitar) and Khori Wilson (drums).

Originally he wanted to focus on 50s style doo-wop, similar to The Flamingos; rich in reverb and vocal harmonies, but in the first initial practise they had it was evident the band clicked on their love of soul music from the 70s, so their music took a natural turn towards that sound, with tracks such as the Wilson Pickett-esque single 'Tell Me'.

The release took almost two years to complete as Mat explains "I am a perfectionist, I had a very specific vision in my head about how it should sound and I wasn't going to rest until I achieved it."

"This is a definitely a throwback soul record, as well as being drawn to lush and intricate arrangements of Motown, I was also inspired by the more lo-fi works of smaller labels such as Chess and Capsoul, and I wanted to capture the magic they had in those recordings in our record, as everything feels too precise nowadays" clarifies Mat.

It was thanks to his engineer Mike Hagler, who introduced him to Paul Von Mertons (Mavis Staples, Paul McCartney, Elton John) who arranges and conducts for Brian Wilson's live touring show and after a 45 minute phone conversation about what Mat wasn't keen on, on the album, he realised Paul totally understood where he was coming from.

After a few months wait for Paul to get back from touring they entered the studio with "Paul's players" and as soon as they hit record, Mat explains "I was getting chills up my neck, it was one of the happiest days of my life, and finally we had nailed it!"

Tracks such as 'Come Back; which Mat wrote in ten minutes on a $300 Daneelectro Singlecut guitar initially, came to life, with Paul's rich string arrangements and features guitarist and percussionist Ken Stringfellow (R.E.M.).

It still took a few months to get the recording process finished but finally after a torturous nineteen months they album was finally finished.

The result is an album filled with lavish arrangements and catchy melodies which take us on a nostalgic musical journey inspired by chic 70s soul, yet the band don't hesitate to add their own unique and elegant contemporary stamp to the record.

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

Nina Simone was an exceptional artist. She was gifted with a precocious talent and she played music at home and in church. Nina originally counted on becoming the first black female classical pianist ; her plans were thwarted and that frustration no doubt permeated almost her entire career. Yet she became a diva capable of combining the jazz world with those of the classics and soul, and among other titles she recorded are some of the most vibrant and moving performances of Wild is the Wind or You Can Have Him, I don’t Want Him.

She was one of the greatest artists of her time, and her fervour and rigorous demands concerning the quality of her music took her to the highest summits, whether in her compositions or in her vocal and piano performances. For all that, she never forgot her condition as a black woman in the America of the Sixties, and her active commitment to defending the rights of the black minority was exemplary - and at times even excessive, for which she was often reproached.

She has left us some of the most beautiful chapters in jazz and soul music, among them the 23 titles that appear in this album.

Produced by Leon Michels. Features vocal and guitar by Kevin martin of Brainstory. When Lizette and Quevin visited Leon Michels at his home in upstate New York an impromptu recording session gave birth to 'Grow Forever', the first ever song from this top-notch duo.

Quevin (aka Kevin Martin) is one third of Brainstory and the man behind the honeyed voice that blessed their hit singles Dead End and Mnemophobia. Lizette is a talented ceramics artist whose voice has a certain 'je ne sais quoi' that is reminiscent of records by Little Ann and Rosie and The Originals. 'Grow Forever' is a mid tempo ballad that will have most collectors buying doubles. Lizette & Quevin trade lines over beautiful chords, fluttering guitar, and crushing drums.

The B Side is an instrumental of the track entitled 'Now It's Your Turn To Sing' that we will be using for a talent contest of sorts. We will be inviting people to write and sing their own songs over the track and sent them into us via Youtube, the three best versions will win Big Crown prizes.

Roy Ayers, at the height of his career, embarked on his own Uno Melodic record label. He wrote and produced for an array of artists including himself on two albums “Silver Vibrations” and “Drivin’ On Up” (amalgamated as “Lots Of Love”) in 1983. From these sessions come the boogie dancer “Everybody” and jazz funk classic “And Then We Were One”, presented here on 7” on original Uno Melodic artwork.

Bastard Jazz is proud to present the sophmore solo album by one of the gems of the New Zealand underground soul scene, Isaac Aesili. Woven through electronic soul, with threads of jazz, funk, R&B and house music, Isaac's 'Hidden Truths' is the stylistic unification of all his previous projects (Karl Marx, Funkommunity, Sorceress) into a dazzling and diverse body of work. Three years in the making, its depth is clear from the first listen, and is peppered with some of New Zealand's finest soul and jazz musical talent, including two stunning female feature vocalists from New Zealand; Ladi6 and Rachel Fraser.

The album opens with an ominous instrumental 'Mirror' setting a dark a tone for the album the start, shimmering with shades of Dilla swing snapping over metallic chords and a graceful trumpet solo that enters midway through. Wild feat. Ladi6' is a heavy downbeat future soul joint with stratospheric synths layered over driving beats that build alongside the elegant vocal weavings of New Zealand's first lady of soul, Ladi6, while 'Player' sees Isaac's unique vocals tell a tale of dangerous seduction within a synth funk-driven dancehall cum house music that feels like the Gap Band on a tropical vacation. 'Jungles' is a deep, native and ocean-like soundscape that begins with syncopated synths and beats that collide dramatically into a frantic, sweeping synth outro, followed up by'Realms' , an intricately crafted song that has sonic elements from techno-house that are other-worldly accompanied by live drums that flip after the breakdown into a swinging conclusion of the album's first half.

'Run Every Way' is an epic percussion-driven electronic blues that begins with a vocal chorus from Isaac that could just as easily be interpreted lyrically as a warning about climate change as it could an expression of the inner-self, while "Refugee" is also a heavily percussion orientated joint that fuses romantic classical strings with otherworldly synth stabs and Isaac's haunting vocals moving climactically into a tender coda conclusion. "Rain Gods" feat. Rachel Fraser is a heavenly pathway into Rachel's luxurious vocals with clever lyrics merging the soaring synths and looped bassline into a short yet memorable chorus'and 'Steps' is classic Isaac Aesili production including deep Rhodes chord changes, a knocking beat with layers of percussion, synths and horns providing a warm emotive accompaniment to Isaac's vocals. 'Last Minute' is a simple yet sophisticated jewel of space and time that concludes the vocal tracks of the album in a proper soulful style, and 'Maureen' rounds out the album as an expressive instrumental outrolude that features Isaac's trumpet.

Isaac Aesili is an Internationally acclaimed solo artist and the producer and creative force behind Funkommunity, Sorceress and Karlmarx. Isaac's original productions have been supported internationally by DJs such as Gilles Peterson (BBC Radio 6 Music), Benji B (BBC 1), and Lefto (Belgium, Worldwide FM). His trumpet playing features on many collaborations including 'Layer' by Julien Dyne (Wonderful Noise/BBE) and 'Midnight in Peckham' by Chaos in the CBD (Rhythm Section). A world-renowned musician on both trumpet and percussion, Isaac is a member of the Lord Echo band. His music fuses Soul, Funk, Jazz, Afro and Latin styles with R&B, Hip Hop and Electronic music. Isaac's much anticipated sophomore solo album "Hidden Truths" is out on Bastard Jazz (NYC) in 2020.

BEHOLD! The inaugural long player from Wick Records - The Mystery Lights! In an era when the city kvetches that there are no good NYC bands, when half of the music scene has split for sunny California, the Mystery Lights are an anomaly. Not only did these bold young men reverse the direction - optimistically migrating east against the tide from the west coast, but they also immersed themselves in the action and diversity of New York City. Organically unfolding over the nights, months and years, the Lights' sound has evolved into a fuzz-fueled, hopped-up 21st Century take on '60s garage pebbles, and artful '70s punk, that is all their own.

If you've ever seen the Mystery Lights live, then you've experienced the otherworldly energy and conviction they exude on stage, compelling their rabid fans to emphatically entwine themselves into an electrified mob. This album is a testament to that. Recorded at The Daptone House Of Soul by (Grammy Award winning) engineer, Wayne Gordon - shortly after their debut single sold out - it marries the Lights' youthful, visceral energy with seasoned song-craft and musicianship far beyond their years.

The Mystery Lights are living proof that vital contemporary music, in this case real-deal rock 'n roll, can still be dreamed, constructed, and thankfully recorded in the Empire City.

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’ and a UK tour to commemorate it during April 2020.

Tyrone Davis is the all time great American soul singer who broke through in the late 60's and never really stopped recording. In 1968 he found a home in Dakar Records when a Texas DJ flipped his first release and started playing the Bside ‘Can I Change My Mind’. The song went to number 1 in the R&B charts and Top 5 in US Billboard charts. Other album highlights include ‘Knock on Wood’, ‘Slip Away’, and ‘Call on Me’ rooted in earthy, rough-edged traditions of Memp. This is an tunning 1969 debut album, reissued with original artwork.

SEATTLE -- Pearl Jam will release their much-anticipated eleventh studio album, Gigaton, on Monkeywrench Records/Republic Records on March 27, 2020 in the US. Internationally, the album will be released and distributed by Universal Music Group. Produced by Josh Evans and Pearl Jam, Gigaton marks the band’s first studio album since GRAMMY award-winning Lightning Bolt, which was released on October 15, 2013.

“Making this record was a long journey,” explains Mike McCready. “It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption. Collaborating with my bandmates on Gigaton ultimately gave me greater love, awareness and knowledge of the need for human connection in these times."

Gigaton’s cover features Canadian photographer, filmmaker, and marine biologist Paul Nicklen’s photo “Ice Waterfall.” Taken in Svalbard, Norway, this image features the Nordaustlandet ice cap gushing high volumes of meltwater.

In support of Gigaton, Pearl Jam will embark on their first leg of North American tour dates in March and April. The 16-date tour kicks-off on March 18 in Toronto and wraps with a two-date stint in Oakland April 18-19. Full tour dates follow.

Pearl Jam's North American tour is in addition to the band's previously announced European summer tour.

R&S welcome electronic composer Matthew Puffett AKA Future Beat Alliance with his killer single ’Never Forever’ a sublime slice of broken beat techno that originally had a limited release on his “Patience and Distance” album in 2009. It now comes backed with a first rate remix courtesy of R&S regular Afriqua.

A veteran of the UK electronic scene originally from Oxford but now located in Berlin, Puffett made his name in the late 90s with a string of sought after releases on Void Records under the aliases Mode-M and Soul Electrik before settling on the Future Beat Alliance handle. Notching up releases with the likes of Delsin, Rush Hour and Versatile as well as with the storied Tresor imprint, both as a DJ and an artist. In 2019 Matt started his new imprint Reward System to self release new creations.

Life long friend from Oxford, Mo’ Wax and Unkle maestro James Lavelle reached out in 2012, which led to a further creative chapter in Puffett`s story that culminated with him co-writing & programming on Unkle’s 5th studio album ’The Road Part 1’ as well as some singular work in film and television. “The moving image plays a key creative motive in my process,” Matthew explains. “Sound & picture married together is such a powerful combination that always inspires me every time to make my own version, 'Never Forever' is one of my many attempts to try and
capture that.”

Taking cues from modern cinema masters like Denis Villeneuve, Panos Cosmatos, Steven Soderberg and Jonathon Glazer and their respective composers, Puffett's widescreen sonic craftsmanship alongside his irresistible rhythmic sense are a key part of what makes Future Beat Alliance music so alluring; "I want my tracks to guide the listener on a exit route far from this world”

“We first performed this at the All Points East festival in Victoria Park in May 2019. The crowd reaction was so positive that I was inspired to do my first-ever bit of crowd-surfing (which I enjoyed so much that I have repeated it a couple of times since). We played the song throughout the summer & eventually recorded it after our final
performance of the year at the End of the Road festival on September 4th. “It’s a straightforward love song about someone stuck alone in the house whilst the object of their affections is out dancing to House music at a rave. “‘Everybody in the Place’ is the title of a Jeremy
Deller 2019 documentary on Rave Culture.”

Setting the tone with the first release on Lossless in the new year 2020 is co-owner and omnitalented Mathias Schober.
Mathias is opening LL1222 with the title track „The Fall“ on which he invited Jas of the duo Atelier for a vocal appearance showing a new side of his unique voice.
The sparse instrumentation of the the track, built around handclap rhythms, creates the perfect fundament for the vocal highlights. Additional snare drum and synth hits will do the rest to make you move.
Second track of the EP, “Will Make A Difference” sure does make a difference. It’s a 4/4 not 4/4 kinda track with an ever growing huge synth sound that takes you all the way to the middle part where it bursts into emptiness leaving space for some fierce
bass tones. The track has a certain pop-appeal to it but doesn’t at the same time. This doesn’t make sense at all? Just give it a listen and you’ll know. The third and final track is an instrumental version of “The Fall”. A simple reduction.
The essence of beautifully crafted rhythms and synth atmospheres. It simply feels right.

Clear Vinyl

Between Sleeps is a french producer based in Paris, passionate about sound design and synthesizers. His stage name and musical world evoke the state of semi-consciousness, when neither awake nor asleep. With dreamy pads and strong rythms, his music mixes electronica, house and techno. Boards Of Canada, Lone or The Field are among his main influences. All the tracks included in the EP Fantasia have been composed with the same hardware set-up: a sampler, an FM synthesizer and a substractive analog synthesizer. Every track has been recorded in one stereo take.

Noraj Cue returns home to Happy Camper Records to introduce his latest musical adventure ‘Inner Glitch’, a fantastic full length album series. It comes as an emblematic sampler on vinyl followed by a trilogy of digital releases.

This Dutch artist likes organic sounds filled with real world dust and compelling grooves. He explores every corner of the house realm and always makes musical stories that keep you locked. Constantly tinkering with drum and synth, Noraj Cue has applied his unique talent for experimentation to one studio and one album.

And in a career that spans 15 years, his creative touch has impacted the EP's of Tale and Tone, Katermukke and Connaisseur Recordings.
Noraj Cue offers up a musical thesis with Inner Glitch. He explores what he posits is the three aspects that comprise the being of human beings. He suggests that in life we are either presenting our outer self (polished, camouflaged, rehearsed), our inner self (vulnerable, protective, emotional) or our core self (connected to life itself and fundamental to the fulfillment of our self-expression).

His music explores the amorphous space of each self and the indistinct places they meet. "Your feelings and perceptions, is that you? Or are these them?” The exploration of which has taken this courageous artist on a musical epic. And now, simply by closing your eyes after hitting play, so can you. Things kick off with the lush deep house synth-scapes of 'This Won't Last' and take in wonky melodic grooves.

The first collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2006, Under The Covers Vol. 1 finds the duo celebrating their mutual love of song writing from the ‘60s across 17 cover versions from the era. Highlights include a fan-favourite version of ‘Different Drum’, ‘Cinnamon Girl’ and ‘Sunday Morning’. Pressed on two heavyweight 180g silver vinyl.

The second collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2009, on Under The Covers Vol. 2 the duo cover 26 of their favourite tracks from the 1970s. For this edition in the series, Sweet and Hoffs invited guests into the studio including Lindsey Buckingham on ‘Second Hand News’, Dhani Harrison on a cover of his father’s ‘Beware Of Darkness and Steve Howe reprising his guitar parts on a version of the Yes track ‘I’ve Seen All Good People’ Pressed on two heavyweight 180g green vinyl.

The self-titled 1996 studio album from Hüsker Dü and Sugar vocalist and guitarist, Bob Mould. Reissued on vinyl for the very first time. Housed in a reverse-board sleeve and pressed on heavyweight 180g clear vinyl. Recorded and mixed after the break up of Sugar, Mould moved away from a band approach and played every instrument on the album himself. Includes the singles ‘Egøverride’ and ‘Fort Knox,
King Solomon’.

The fourth solo album from Hüsker Dü and Sugar vocalist and guitarist, Bob Mould. Reissued on vinyl for the very first time. Housed in a reverse-board sleeve and pressed on two heavyweight 180g clear vinyl. On this release, Mould continued to develop the driving alternative rock sound he had become known for as well as experimenting with sample heavy electronica which feature heavily on his future solo albums. Includes the double A-side single ‘Classifieds’ / ‘Moving Truck’.

Heartbeat Hartcore music... Asmatik gently silk and knife, surprising you but not too mutch. Fast and clear, hard and sweet... Opposites meltdown to create a large scale of ambience... the Ep even offer a kind of Noise Ambient

A new sublabel of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020 with two fresh Canadian synth-pop LPs on vinyl. Along side a reissue of Ceramic Hello’s cult 1981 minimal synth classic “The Absence Of A Canary,” comes this, the self-titled debut LP from a new Toronto-based duo, Analytica.

Analytica is comprised of David Lush, who’s released several killer solo tapes under the name Memorex, and Gabe Knox, who made a big splash last year with his awesome instrumental synth/kraut solo LP “ABC” on acclaimed UK label Polytechnic Youth.

Analytica make synth-pop the old-fashioned way: driving, verse/chorus pop songs utilizing hardware synthesizers and drum machines, vocals and bass guitar, and recorded to tape. The comparisons to early-Depeche Mode (there’s even a cover of “Reason Man” — an unreleased, Vince Clarke-penned, Depeche song that was part of their earliest live sets), and prime-era New Order (right down to the Oberheim DMX percussion and Peter Hook-style bass guitar) are inevitable, but rarely are these sounds executed with such style and conviction. According to the band, lyrically Analytica “explore facets of the dark age ahead — the propaganda, the nationalism, the environmental disaster in front of our faces - while attempting to offer something of a defence against a nihilistic response to these fears. It's at once a call to arms and a recognition that we're entirely fucked.”

The LP contains 11 songs, and is housed in a stunning reverse-board jacket, and is limited to 500 copies.

To coincide with the announcement, the pair have shared a video for the album’s title track directed by Sam Davis and Tom Andrew, who has previously received two UK Music Video Awards nominations for his work with Avery. Speaking about the video, Andrew explains, “We were keen to capture a visual representation of the tempo and atmospheric emotion of the track and make a video exploring the notion of collaboration. A super-motion approach allowed us to explore details of motion shared between two people, in tactile actions of aiding and supporting.” Cortini adds, “The video embodies the volatility and hidden nature of the music’s subject and meaning. A meaning that is ultimately personal and unique the listener/spectator.” Watch the clip .



Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival and Mount Analog in Los Angeles, and Phonica Records in London. Both tracks are included on the album.



“It was very much a shared process”, notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”



“I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”



The collaborative album follows Avery’s second record Song For Alpha, released in early 2018, and last year’s expanded edition B-sides & Remixes. Mixmag called the sophomore LP “A beautiful maturation of Avery’s work as a producer,” while The Guardian hailed its “Majestic, cavernous techno” and Loud & Quiet praised Avery as “A producer fast approaching the peak of his powers,” “This album cements Daniel Avery as one of the best,” wrote DIY. The London-based producer will perform at BBC Radio 3’s Unclassified Live on April 3rd, a new series of concerts in the Southbank Centre's Queen Elizabeth Hall presented by Unclassified host and presenter Elizabeth Alker and conducted by André de Ridder – tickets are available here. Avery has also just been announced in the first wave of acts for London festivals Re-Textured and the inaugural Wide Awake, taking place in April and June respectively.



Cortini released his most recent solo album Volume Massimo on Mute in July 2019, following Fine, the Italian artist’s final album under his SONOIO alias, which came out the previous year. The Quietus called the former “an album that showcases just how much Cortini‘s aesthetic has developed since his early days,” while Exclaim! hailed it “a melodic exploration of textures and layers … an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer.”

The past 18 months have been a whirlwind of activity for the
London based poet, rapper, novelist, spoken word artist and playwright Kate Tempest. Having released her third studio album which was executively produced by Rick Rubin, ‘The Book Of Traps And Lessons’ to critical acclaim last June, Kate then embarked on an extensive year of touring, which included her biggest show to date at a sold out London Eventim Apollo. ‘Unholy Elixir’ and ‘People’s Faces (Streatham Version)’ are new takes on the album’s ‘Holy Elixir’ and ‘People’s Faces’ - Produced and Mixed by Dan Carey.

The consistently innovative Catch Recordings is back with a new EP from Leipzig based producer U+00C5. As always with this label, the music is right from the cutting electronic edge and finds this stylish producer blur the boundaries between ambient, dub and techno in evocative new ways.

Cult favourite U+00C5 is focussed on new musical forms, on modern sounds and redefining the European techno sound. He consistently pushes forwards and is a master of the interplay between hypnotic repetition and otherworldly abstractionism, all while drawing on dark ambient and drone. Once again here the producer who also works as Åmethyst is in fine form across all five tracks.

Atmospheric opener 'Blutdruck' is a deep techno roller that fizzes with a sense of post-industrial dystopia. The shadowy grooves are eventually backlit by subtle chords that bring real warmth and soul. The excellent 'Empfinden' is more high tempo but just as cavernous and absorbing thanks to the rolling rubber drums, distant synth drones and sci-fi motifs that add the all important details which keep your head as engaged as your heel.

The beautiful 'Taumel' is another slice of hypnotic and tunnelling techno embellished with gorgeous ambiance from the outer edges of our galaxy. 'Nichts Ist Wahr' closes things out with suspensory pads giving you the feeling that you are floating in space before the firmly rooted drums rumble on and take you into the next dimension.

This is another fascinating EP of club ready but seriously heady sounds from Catch Recordings.

With the collective generosity of all those involved along the way, from mastering, manufacturing, affiliated record stores and PR to the artists themselves and PDD, all profits from this special one-sided Artwork remix of Mildlife ‘Zwango Zop’ will be donated to two charities combatting the bushfire emergency in Australia via Prime Direct Distribution; Wildlife Victoria and the Australian Red Cross.

Their indispensable efforts continue to assist the emergency response, rebuilding homes and habitats, supporting rescued animals and the shelters that house them, alongside aiding the evacuation centres and recovery hubs created in many communities and implementing recovery plans for those who have been devastatingly affected by the bushfires.

Certified man of the people, king of the content and all-round good guy Artwork has been there, everywhere, and done it all - in more guises than many would even know about. From Magnetic Man to Grain, D’N’D to Artwork he’s a master producer, well versed at knowing what dancefloors want and more importantly need.

Now take Mildlife, the boundary pushing, critically acclaimed Melbourne-based space jazz four-piece, who’ve managed to seamlessly blend jazz, funk and disco into one multi-coloured, multi-layered melting pot of auditory excitement. A band whose hype is certainly lived up to, with the likes of DJ Harvey heavily championing them to the point of including ‘Magnificent Moon’ on his ‘The Sound Of Mercury Rising’ VA LP.

A wash with improvisation, soaring synths, stratospheric bass riffs, and a fluidity of grooves, ‘Zwango Zop’, taken from Midlife’s debut album ‘Phase’, is kaleidoscopic cosmic gold. For this special non-profit release, Artwork extracts that undeniable funk energy and turns into a 10-and-a-half-minute, highly hypnotic, instantly addictive creation that it is as psychedelic as it is slamming.

Just one of many examples of the dance music community coming together as a power of good to raise funds for those affected by the emergency in Australia. Support the cause, through the medium of music.

Tucked away in their cover, but never for long, Guts' musical eyebrow wands have once again panicked, this time aggressively marking Africa.

Letting his instrument guide him towards the one he felt was the next signature of his label Pura Vida Sounds, the beatmaker-producer found himself face to face with an old acquaintance: Pat Kalla aka the voice of the Voilaaa Sound System, aka the one with which he crossed the funk on his album Philantropiques and the title "Daddy Sweet".

Convinced to follow him in studio, Pat, accompanied by his Super Mojo celebrates this collaboration by decapsulating La "Canette". Long groove in the mouth, acidic notes of synths and attacks of precise guitars, despite the bitterness of his words, a drink that suits every hour of the day and that strengthens the legs most numb. Heckled by her journey to the bottom of Pat’s musical bag, shaken by the syncopes of the beat, she spreads her funk foam from the very beginning into the A-side furrow.

Bartering the beige trench coat of Commissioner Joss against a colorful toghu, Kalla and his Mojo revisit on the B side the "Requiem Pour Un Con" de Gainsbourg. The martial groove, dark and hypnotic leaves its place to a polyrhythmic afrodisco production, surrounded by a low velocity.
More than a recovery, they are making a real diversion.
A hijacking driven by Pat Kalla and his Super Mojo, with Serge Gainsbourg and Jean Gabin sitting in the back seat like two "Pachas".

Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser 'BT027', Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia.

The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat.

However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for 'IDEAL', Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details.

Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.
'Nist-Nah' presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’.

On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.

We are a vinyl-only label based in Miami, FL.
Our first release comes from label boss, Feph.

Steady rhythms, captivating grooves. An ebb and flow of energy throughout every track.
Catered to DJs and meant for the club.
Extended DJ tools that will serve a place in any record bag.
300 copies

‘Oh, baby, this is where it gets good.’ - Zaphod

The last ever BBC radio series of The Hitchhiker’s Guide to the Galaxy makes its vinyl debut! Materialising in the lavish packaging style of the preceding five series (Primary Phase, Secondary Phase, Tertiary Phase, Quandary Phase and Quintessential Phase) the Hexagonal Phase will make its presence known to all humanity on heavyweight Neon Geen vinyl! First broadcast in 2018, the Hexagonal Phase is based on Eoin Colfer’s And Another Thing…, the first - and, to date, only – official sequel to Douglas Adams’s original book series. This is also the first ever publication of the original radio edits of the Hexagonal Phase, as heard on their original Radio 4 broadcast. Arthur Dent and friends are thrown back into the Whole General Mish Mash in a rattling adventure featuring Viking Gods and Irish confidence tricksters, taking in a rare glimpse of Eccenrica Gallumbits and a brief but memorable moment with The Ravenous Bugblatter Beast of Traal.
Starring John Lloyd as The Book, with Simon Jones as Arthur Dent, Geoff McGivern as Ford Prefect, Mark Wing-Davey as Zaphod, Sandra Dickinson as Trillian/Tricia McMillan, Samantha Béart as Random and Jim Broadbent as Marvin, with a guest cast including Jane Horrocks, Lenny Henry, Jon Culshaw, Mitch Benn, Ed Byrne, Toby Longworth, Professor Stephen Hawking and many more, with music by Philip Pope. Adapted, Directed and Co Produced by Dirk Maggs, based on the novel And Another Thing… by Eoin Colfer, with additional material by Douglas Adams.

Presented on 3 x 180g heavyweight neon green vinyl, and
presented in illustrated wallets inside a rigid, bound 20 page book,
including a perspective sleeve note by Geoff McGivern and a
concluding overview of the series’ development by Jem Roberts,
Adams’s official biograph

You’re home just in time for tea.’ - Fenchurch