Suche:fe

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

Chapter 3 features The Gospel Truth - He Can Do It, a rare cut that barely has a trace online, on the flip you’ll find the instrumental version of McKinley Sandifer’s I Am The Vine, another tough and under the radar tune.

The outstanding 1971 debut by piano player and arranger Osmar Milito features his amazing cover of Herbie Hancock's Cantaloupe Island plus several classic Brazilian songs by Marcos Valle, Jorge Ben and Ivan Lins among others. Fierce samba jazz and bossa all the way through! The line-up of performing artists could hardly be more impressive: Quarteto Forma on vocals, Luis Ea, Marcos Valle, Pascoal Meirelles. This brilliant album is up there with the best work of Arthur Verocai and Marcos Valle. Presented in facsimile artwork and pressed on 180g vinyl

During the 90s, a walk around London’s Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock’s ‘Cantaloupe Island’ that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Now we finally have a new opportunity to enjoy this album, reissued on vinyl for the first time.

Along with the aforementioned version of Herbie Hancock’s song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP.

The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (what an amazing drummer he is!)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent ‘Garra’, ‘Que bandeira’ or ‘Rita Jeep’, or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle.

We were first introduced to Marumo’s ‘Modish’ album via DJ Okapi's amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.
‘Modish’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.
Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.
We included the afro-disco-funk beauty of 'Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modish’ needed to be available and heard in it’s entirety. We hope you enjoy!

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 original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely.

The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

While both versions presented here have common elements, the ‘Movie Mix’ – so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ – goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

Following a successful EP in 2019, featuring remixes from Osunla
& Pocz, Olindo Records are proud to present “Wono”, the debut collaborative album from Koichi Sak& Afla Sackey.

The album is a deep exploration of Koichi's love of both electronic and West African music, in close collaboration with Ghana-born master percussionist, singer, band leader, teacher and songwriter, Afla Sackey.

Featuring 7 tracks ranging from the meditative “Yamb”, which features master kora player Kadialy Kouyate, to the acid infused, slow house workout of “Niege”. Passing through a contemporary highlife take on advance single “Suolo” and an album version of the previously released “Jingo”.

Koichi Sakai is a London-based producer and DJ, a well-known head in London music circles thanks to his role in co-founding the legendary Afrobeat Vibration nights alongside Dele Sosimi. He has previously recorded and released music with Kay Suzuki as Afrobuddha, and they recorded a set together for Boiler Room.

Afla Sackey is leader of 10-piece afro funk and highlife orchestra, Afrik Bawantu, and the man who the likes of Kokoroko call when they need some extra power on the percussion or a singer to lead their Church of Sound tribute to Ebo Taylor.

Koichi Sakai & Afla Sackey’s first collaborative project on Olindo Records, the “Wono” EP released late last year, received widespread support, particular from Gilles Peterson on BBC Radio 6 Music, Defected Radio, Mafalda, Hector Plimmer & Zakia (NTS), Tony Minvielle (Jazz FM), Tim Garcia (Música Macondo/Jazz FM), Music is my Sanctuary, TwistedSoul, Mari* & Papaoul (Worldwide FM), Alan McKinnon and DJ Harv.

We still have copies of Koichi Sakai’s Wono ep OR004 and Betsayda Machado LP ORLP003 should you like more.

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".

Fast-rising Lisbon-based DJ/producer PEDRO has shared details of his long-awaited debut album, ‘Da Linha’, which releases on March 20 via Enchufada. First teased with the release of bubbling lead single ‘Calores’ in January, ‘Da Linha’ crowns a defining breakthrough three years for PEDRO that has seen him establish himself as one of Portugal’s most vibrant and exciting new-school producers. His debut EP, ‘EP ‘Damaia’ (2017) – named after the suburb of Lisbon he was born in – immediately signposted a bright, borderless club sound rooted in experimentation, which has since been best emphasised by 2019 releases including the Buraka Som Sistema-sampling ‘Rapazes’ and a breathless collaboration with Nigerian MC, Magugu (‘Too Much’), both of which feature on the LP tracklist.

First inspired by his older brother, who would introduce PEDRO to the latest electronic music coming out of Portugal, he still references DJ Rolando’s ‘Knights Of Jaguar’ as a memorable early touch point – a record he still credits with influencing the melodies he writes to this day. Living and growing up in Damaia, PEDRO also went to school with friends of Angolan, Cape Verdean, Brazilian and Mozambican descent, exposing him to a whole patchwork of new sounds and genres like kuduro and kizomba from a very young age. With such a rich and diverse musical upbringing, it is perhaps no wonder that ‘Da Linha’ is bursting with energy and colour across all 10 tracks, melding together the hyper-specific sounds, instruments and voices that have sound-tracked PEDRO’s life so far. From the marching, militant rhythm of ‘Stuck On You’ ft. standout Ghanaian MC, Bryte, to the silky, bubblegum vocals and gloopy, earworm melodies of closing track ‘Para Ti’ featuring Xcelencia, you’d be hard pushed to find a debut record that captures a city so viscerally.

Limited edition vinyl imprint Absence Seizure established in 2015, focusing on late-night grooves and bass. Matuss’ 13th release on the label Seizure No.13 EP comes at full-force with its melodic deep house ready for the dance floor or the afters.

The first track on the EP is ‘Continuum’, combining an ambient sensibility with deep house energy, an epic slow-burner which morphs into something quite spectacular as the groove moves on. Next, we have the hypnotic ‘Mer De Soleil’, carried along a melodic bass and a snipped vocal pattern which carry a weightless feel ready for dancing.

The addictive and emotive ‘Solicitors Are Welcome’ employs twinkly synths with a house beat, and features a dreamy vocal from Sophie Buskin. A real end-of-the-night track, its given a re-working from Silent Surrender, sending percussion rushes and an expert manipulation of the vocal work to form an intoxicating listen.

Matuss has shown once again her expert crafting of deep, dance floor rhythms with Seizure No.13.

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

The first album African Head Charge made for OnU since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!)

 This album is African Head Charge at their very
best, rich in varied percussion and spiritual chants,
set over hypnotic and transcendent layers of
African rhythms, trippy and bubbling dubbed-out
effects and trademark pounding bass.

 This is the first time the album has been released
on vinyl. Cut over 4 sides for maximum dynamics
by King Kevin Metcalfe.

 Includes double-sided poster insert featuring a
new interview with Bonjo, two bonus tracks and
digital download card for full contents.

Following up on their explosive and critically acclaimed debut album Free To Believe (2015, Do Right Music), Canada's premiere deep funk outfit The Soul Motivators are back with their sophomore album Do The Damn Thing. The 9-track album delivers a heavy dose of the band's signature funk sound, incorporating the soulful sensibilities of lead vocalist Shahi Teruko, who has been performing and touring with the band for the past two years and makes her recorded debut here.

From the high-octane 'Mindblastin' and 'All the Way to the Bank' to the moody ''Black Rhino' and the car-chase MSFBs-inspired 'Savalas' which show off the Motivators' instrumental grooves, Do The Damn Thing is guaranteed to appeal to the most discerning funk fans.

The band continues to broaden their definition of soul music from a spiritual, political and social standpoint, as evidenced by the album's most poignant and introspective moment, 'Modern Superwoman' featuring lyrics penned by Teruko. The Soul Motivators have toured tirelessly in their hometown of Toronto and all across the country. Their diverse crowd always turns out for their propulsive live show, and their mandate has always been the same: inclusivity, community, togetherness, and getting down on the dancefloor.

A firm Drumcode favourite, Mark Reeve is back with his latest techno opus.

Weaving his vitalising, biting techno through the seminal imprint since 2012, Reeve has since become a permanent fixture within Adam Beyer’s camp. He saw demand for his knockout ‘Run Back’ EP being matched and surpassed by his ‘Far Away’ EP. Staunch DC fans will also be familiar with Reeve’s output on the label’s A-Sides compilation series, and clubbers hot on the tails of Drumcode events will have caught him centre stage across a string of showcases, including the inaugural Drumcode Festival.

Reeve’s music invariably endorses an arresting sonic aesthetic, with intense melodies often driving in those eye-closing moments. The title track ‘Distance’ is an atmospheric opening gambit set to sonically massage the senses with uplifting pads and a radiant melody. ‘Serum’, a track recently road-tested by Beyer at a special event in collaboration with Cercle, soars and captivates as it progresses with a low-end rumble and intricate keys. ‘Fix Me’ is a vigorous techno workout that’s intent on energising a clubroom rammed with sweat-soaked dancers. Closing off the EP, ‘Filmwave’ rides a killer groove into a pit of punchy, powerful kick.

Limited edition clear LP 500 copies worldwide. No Repress!

Record Kicks is proud to present the Instrumentals from 2019's critically acclaimed album "50 FOOT WOMAN" by Hannah Williams & The Affirmations. Recorded strictly on tape at ATA Records and mixed and produced by Shawn Lee, this album captures all of the visceral power of The Affirmations. Hannah Williams turned heads worldwide when the hip-hop superstar Jay-Z sampled her heart-stopping vocals on 'Late Nights & Heartbreak' for the title track, '4.44' on his 2017 album. With the new album 50 FOOT WOMAN, released last October 18th on the Milan based imprint Record Kicks, Hannah and her exemplary, Bristol-based band the Affirmations delivered a definitive career statement.

4TRK-029 sees label head Dj Hyperactive team up with Jason Patrick for the Inflexion EP. The release kicks off with, “Shadows Of The Underground” a stripped down acid Techno track that builds in a mutating fashion with it’s 808 cymbals, filtering shakers, and pitch bent synth stabs Mississippi Mud Hound gets underway with a growling bassline that morphs throughout alongside additional synth elements and percussion bits. On side b, “Harrier Env” provides a jacking feel that manages to also have stutter step bass groove in conjunction with 909 percussion, a spacey drone, and a mysterious melody. Closing out the release is “Bandaid On A Bullet Wound” an atmospheric stripped down track with powerful bass, sci-fi bleeps, and a lead synth riff that pushes and pulls in intensity throughout the track.

Låpsley releases her highly anticipated second
album. Titled ‘Through Water’, it is the follow up to
her 2016 album ‘Long Way Home’, one of that
year’s most acclaimed debuts. Released while she
was still a teenager, ‘Long Way Home’ featured
Låpsley’s breakthrough moments ‘Station’ and
‘Falling Short’ and spawned one of the biggest club
tracks in recent years (DJ Koze’s edit of ‘Operator’)
as well as inspiring a new generation of
electronically minded songwriters including Billie
Eilish, who namechecked it as a key influence on
her sound.
 ‘Through Water’ is without doubt Låpsley’s most
accomplished work to date, written and recorded
during her transition into young womanhood. With
Låpsley as the major producer and songwriter, the
ten songs (whittled down from over one hundred)
reflect her newfound confidence, clarity and selfawareness as an artist, documenting a wealth of
personal experiences and coming-of-age stories
set against a thematic backdrop of water, climate,
weather and the elements.

The Pendletons return with a brand new track and a slew of in demand remixes all in one package. First up is "Don't Turn Your Back" featuring Kool Customer vocalist Rojai featuring a bubblin' bassline, analog synths galore and Roj's vocals taking the lead on the cut backed up by Trailer Limon & E Da Boss's unmistakeable vibe. Next up, Bastard Jazz mainstay artists Potatohead People hit the nail squarely on the head with their restrained and eternally funky remix of the last album's hit single "You Do You" featuring the legendary Howard Johnson (previously only available on an unreleased Bandcamp bonus 7") while NYC DJ producer and edit king Jacques Renault does what he does best with "Keep It Working" featuring UK soulstress Gizelle Smith - extending the groove out and letting the bassline ride while keeping the original feel of the song intact. Lastly, Pendleton's member E Da Boss extends out the "Keep It Working" OG for the hardworking DJs across the land giving the intro & outro some breathing room. Also included is the Jacques Renault Instrumental.

Dadub ​is a project synonymous with the deepest rhythms from the interior of the human psyche. Low-end mysticism. Tribalist periodic audio patterns. The Berlin-based Italian producers behind the project, now constructed of sonic warlock Daniele Antezza and performance artist Marco Donnarumma, supply an unmistakably unique vision of post-apocalyptic dub landscapes. Past, present, and future blend into one, backed by the supremely sublime BASS of creators who are light years ahead in their field. A Sun Called Moon​ is a superior first representation on Ohm Resistance, detailing their ongoing mission of creating bass-present music, regardless of dancefloor conformity. The Time You Killed opens as a psycho-acoustic audio film, depicting the unknown world from which the EP emanates. I Would Gladly Die… introduces the first heavy rhythmic patterns, completely alien to identified structures, while unmistakably pushing a groove that entrances hypnotically. Past Times Present Ruins lowers the tempo and continues extrapolating into new rhythmic territory – or is it ancient? It Was Too Soon follows with beat driven hednod, as influences from Scorn to Autechre are subsumed into the universal language that comprises Dadub. Feeling both familiar and foreign, both modern and eternal, Dadub’s first appearance on Ohm Resistance is a fascinating drama played out in 4 acts. Spliff recommended – subwoofer required. All tracks Written and Produced by Daniele Antezza and Marco Donnarumma Mixed by Daniele Antezza and Marco Donnarumma at Dadub Studio, Berlin Mastered by Xergio Cordoba @ Eternal Midnight Studio, Madrid Photography by Flora Schwartz Layout by ​MachineTM

Max Graef and Julius Conrad are Ratgrave. ‘Rock’ is their
second album - ongoing transmissions of Electronic PFusion from Earth. It follows a stellar debut on Funkineven’s imprint Apron. The duo’s sound palette draws inspiration from 80's funk, soul, rock and electronic but through a contemporary lens from two versatile multiinstrumentalists.

 In their own words: “Rock is the essence of energy and
vibration we felt in different styles of music, almost like a
parallel component connecting all things we like. In the
process of recording the new album we kept coming back
to this essence no matter what style the original idea was.
There was the raw and brutal energy of Jazz-Rock, a lot of
video game influences that somehow adhered this essence
just as well as quieter Pop and Psychedelic passages that
we recorded. Among other things we absorbed a lot of
heavy music during the time of the recording like Blue
Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and
realized while writing our own music how much impact
they had even on quieter songs. This is why ‘Rock’ felt like
the perfect title although the music ranges from P-Funk
and Spiritual Jazz to various styles of Pop and beyond.”

 Max Graef has previously collaborated with Glenn Astro on
records for Ninja Tune and both artists have previously
released on Tartelet.

 This marks the fourth official album on Black Focus, a
London label founded by Kamaal Williams.

 4pp digipack. 180g vinyl LP in reverse board printed sleeve
with 3mm spine and digital download card.

‘Rejoice’ is a very special collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz.

Having first met in the 70's thanks to their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself and producer Nick Gold took the opportunity to record their encounter. The unfinished sessions, consisting of all original compositions by the pair, lay in archive until after Masekela passed away in 2018.

With renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Hugh Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

‘Rejoice’ can be seen as the long overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with it's roots firmly in Afrobeat.

Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians including Tom Herbert (Acoustic Ladyland/The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

Three artists discover the wider field of dark electronic dance music. Although young, these producers already have a big understanding of sound. A sound which is past-oriented but every track has a certain twist which makes the music contemporary and timeless.

On A1 – Dein Letztes Hemd – Nicola Toma from Berlin combines acid cuts with German Vocals (by Camila Strasdas) and a pushy bassline. Nothing else needed. Zurich’s Prioleau opens up a totally new world on A2. ‘Never Trust A Mirror’ is an energy driven tune without compromises. A dark new wave-y and kraut influenced masterpiece.

On the b-side are two tracks produced by Hesychia369, a well-known producer from Zurich under a new alias. With ‘Dmbrisded’ and ‘Diffspherez’ he shows his love for acid basslines and fast rhythms.

‘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

Vinyl Only, Limited to 150 copies

Mysterious Berlin label MASK return in 2020 with a vinyl only release consisting of a pair of raw cuts entitled ‘Marilyn’.
MASK preserve their esoteric philosophy of delivering well-crafted, modulated house and techno cuts produced on hardware equipment and ‘Marilyn’ certainly follows suit. MASK releases are the result of anonymous artists live jamming together in unison with the first five releases picking up support from the
likes of Laurent Garnier, Marcel Dettmann, Elena Colombi, Machine Woman and many more.
The A side is 13-minute voyage featuring fluttering, resonant drums, lo-fi synth stabs and growling oscillations that take the focus in the later stages while on the B side sweeping pads, spacey undertones and squelchy, acid soaked sci-fi elements keep the sonical experience obscure yet fascinating throughout.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

2x12"

Circle Vision proudly presents the anticipated debut album of Copenhagen producer and label head RDG aka. Ruben Nielsen.

"Planetary Sound Fiction" marks the Danish label's 10th release with a subbed-out panoramic trip deep into the current state and future of bass music, with sound allies Killa P, Rider Shafique, K Man, Ill Chill, Monti and Yaa Aisin all complementing the hands and ears of the accomplished Danish producer throughout the album.

Drawing on experience from decades of DJing, musical production, sound engineering and intergalactic excursions, RDG has thoroughly matured his undeniable skill of orbiting and perfectly blending the dimensions of jungle, dubstep, techno, DnB, experimental, leftfield and downtempo music into a coherent and captivating sonic journey.

Following more than 25 EP releases over the past 10 years, "Planetary Sound Fiction" is by far RDG's most exhaustive work to date and presents a sound, encompassing anything else released by the Danish producer so far.

MPX 2 features 3 cuts of blisteringly linear, apocalyptic techno from A Saggitariun, fresh from the release of his recent album on Running Back. The record also features a remix from Mor Elian (Fever AM, HyperColour) who reimagines "No Drama" as an almost sub-aquatic dub-excursion.
MPX is both a new vinyl only label from Man Power that explores raw forms of Techno, as well as also being an alias for the producers own occasional technoid excursions.

Two are surely better than one. Following Lory D and Fadi Mohem, Toronto based producer Graham Bertie aka Nautiluss also steps up for his second outing on Seilscheibenpfeiler, marking the label’s 10th overall release. Once more, Nautiluss is transforming playful and rhythmically intriguing bass music into prime dancefloor cuts, encompassing a rich array of sounds and moods ranging from upfront rave action to delicate deepness.
„Guccifer“ kicks things off with a dark, shuffling beat, creating a subtle hardcore/jungle vibe with atmospheric overtones. „Snakes And Ledgers“ is a percussion-heavy tune led by a fat and thumping bassline and completed with muffled chants by Toronto rapper Matthew Progress. Next up is „WiFi Oasis“, again fronted by a memorably melodic and reverberating bassline while the track explores airy and enigmatic IDM territory. „Moment Of Clarity“ rounds off the EP with ethereal synth pads and big breaky beats, providing an ideal closing track for every extended club night.

Under his Klankman moniker, Maarten Epskamp brings his own twisted take on techno with a lavish amount of acid. Displaying a free-form DIY approach of rhythmic electronic music with an intuitive compositional approach. The result might sometimes be experimental and certainly be intriguing, but the dancefloor is never far away.

12". LP pressed on 140g Vinyl.
Stealth Mission returns for it's fourth drop with four tracks of red-raw cuts from Postbhuman, Naked Eye People, HVL pres. Kiyadama and Do the Du. Also fearturing a Ben Sims edit, this is essential dancefloor weaponry.

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

"QUINZE" -"fifteen" in Catalan- is the title of the new release from Barcelona’s Lapsus Records. Lapsus celebrates its fifteenth anniversary with the launch of a new compilation comprised of today’s most compelling, experimental and ground-breaking electronic music. Fifteen unreleased songs from artists that best define the Lapsus sound: Attraktta, Chevel, Gábor Lázár, Gacha Bakradze, Johanna Knutsson, Karen Gwyer, Leif, Machine Woman, Patricia, Pye Corner Audio, RRUCCULLA, Steve Hauschildt, Telefon Tel Aviv, The Belgium and Ylia. "QUINZE" will be released in late February and two different versions will be available: A standard double LP edition; and a collector's edition LP packaged inside a bespoke cement case of which only fifteen units will be manufactured.

- Ursprünglich als EP zwischen den ersten beiden Bon Iver Alben veröffentlicht, enthält Blood Bank einige der beliebtesten Songs der Band - Erstpressung auf farbigem Vinyl - mit 4 brandneuen, exklusiven Live-Aufnahmen der EP-Titel, die auf der Tournee 2018, 10 Jahre nach der Entstehung der Songs, aufgenommen wurden - Bon Iver 2020 live in Berlin, Köln und München // Die "Blood Bank" EP wurde ursprünglich Anfang 2009 veröffentlicht, kurz nach dem geliebten Album "For Emma, Forever Ago". Die EP war der Vorbote eines neuen Sounds für Bon Iver: eine Bewegung weg von der akustischen Gitarren-geführten Instrumentierung des Debüts und der Beginn einer Erkundung der experimentellen Klänge, welche die Entwicklung von Bon Iver seitdem mitdefinieren. Die Neuauflage dieser bahnbrechenden EP ist gekoppelt mit brandneuen Live-Aufnahmen aller EP-Titel. Eine Reflexion über die Blood Bank EP von Ryan Matteson: When I reflect on the songs that make up the Blood Bank EP, I am drawn to mantras, both musical and lyrical. The driving and pulsating rhythm of the title track is held steady by the repeated refrain, I know it well, before it eventually yields to a beautiful array of guitar distortion and noise. These moments are significant through all four songs. When the steel guitar makes its entrance on "Beach Baby," it's transportive. A blissful, breezy feeling sweeps into the room and that puts you within the moment. Close your eyes and you can feel it. "Babys" follows perfectly. A piano guides your mind to the new beginnings that come with the changing of seasons. The awareness of time passes and makes way for another day. Then there's "Woods." A flawless finale. Foreign and new. Not just a new direction but a new beginning entirely. A place where boundaries don't exist. It was a signal change of things to come, laying the groundwork for new collaborations. A decade later, the song says so much in just three lines. Most significant to me are the words, "I'm building a sill to slow down the time." Time doesn't slow down, it races.

"Available again for the first time since original release in 1974, Outernational Sounds proudly presents one of the deepest custom press jazz recordings of all – Jaman’s spiritualised and funky Sweet Heritage.

The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. But that is to put the cart before the horse, for the true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. The far greater part is embodied in the musicians and their music as they play it and live it. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it.

Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians – one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist Juini Booth and regular Ahmad Jamal sideman Sabu Adeyola (also of Kamal & The Brothers) have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and too many others to mention. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily in the years that followed. He became, in short, one of Buffalo’s true jazz stalwarts, and so he remains.

But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in compete control, and with the flying, spiritual sound of ‘Free Will’ and the upful, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since become a legendary collector’s classic. Unavailable since its original issue, Outernational Sounds is proud to present Jaman’s Sweet Heritage – the soulful and spiritualised sounds of a master at work."

In Ghana "to chop" is to eat, so the phrase No Funk No Chop quite simply means; deliver afro funk and disco bombs, or no one will eat today. With this in mind we jump on the bus to begin our journey. We find our man Grégoire Lawani in fine form with one of the greatest party starters "Africa Land of Soul". Brethren Tany Welck tells the world that he is indeed a" Sexy Man". Peter Mukoko "Esimo Esimo" delivers the breakdown to end all breakdowns. Django Strong supplies us with his super slick "Hoo Dou Hoo Mine". Jide Obi "Give's It Everything he has got", just listen to that bass! Fosto transports us with a synth laden boogie portraying his vision of Africa, K3 Band give us the "Feeling" and we reach our destination ending with Tchamy Patterson's "Camerounaise Children". So, let's eat!!

We hope you enjoyed your trip!

The next release on Visions Rec. is the first part from a four volumes serie of collectable 12 “ called THE EVOLUTION.Phase one presents here 4 artists providing one track each going from deep house to broken soul courtesy of our favourites Producers : Patrice Scott, Kai Alçé, Hanna and Reekee.Tracks are a natural Evolution of what Visions Recordings is constantly developing, a sound that goes from jazz to deep techno keeping the soulful vibe and a dance feel to it with confirmed and new music producers.These tracks will be released first on vinyl and will surely make dancers happy .This 12 inch is a nice way to have a 4 tracker choice to mix in your dj sets .Another great release for Visions Recordings in 20120. Watch out for more goodies in the near future .

Imagine a Kerri Chandler track anthropomorphized, then jammed into a Japanese purikura photo booth for a series of bedazzled, glittered, and airbrushed headshots. Imagine that image set to music. What do you hear? Westcoast Goddess' The Inner Snoopy, a frenetic house workout that is puzzlingly contemporary, classic, and alien.

The four-track EP kicks off with the title track, a cloud of cotton candy, supersaturated hot pink, threaded with twinkly bells and a bass shuffle that flips and flops around with cheerful abandon.

“Limelight Golden Age” and “Murder at Passion Cove,” the two tunes that follow, assume a quietly sinister tone, introducing minor-key piano pounds and pinched synth riffs that stretch to the heavens to complicate the overwhelming joyousness of the instrumental palette and arrangement.

A subtly ironic 12-inch that satirizes and lampoons the bubblegum, technicolor sounds from our hyperactive age while hearteningly finding beauty within it all.

Bah — words, words, word! It's wildly fun party music imbued with idiosyncratic humor and life-affirming happiness.
Play it loud, play if often.

'Slacking Off'... The sought-after 1973 Bahamas recorded percussion-led gem that landed on the scene thanks to Jared Boxx. Renowned DJ and proprietor of New York's Sound Library, Jared unleashed this elusive monster soul-funk jam onto wantslists worldwide via his 'Thanks For Waiting' mix in 2009 and it's remained unobtainable until now. Recorded at 'King' Eric Gibson's Elite Recording Studio in 1973, the track features Theo Coakley of T-Connection on keys, British engineer Allen Mottershaw aka MOTT on solo guitar and Nassauvians lead vocalist and guitarist Tommy Goodwin, who relocated to the Bahamas at least a decade earlier from the US. Featured b-side 'The Time Is Now' is a previously unreleased dreamy AOR island recording from the vaults of Elite Studios made the following year with his friend Don Lepage, sung together with Tommy on guitar and Don on harmonica. Both cuts now available on limited 7" from Backatcha Records for playback far and wide .

Following the release of his highly praised debut album ‘Into Clouds’ at the start of 2019, prolific San Franciscan producer Luttrell returns with his second studio LP ‘Lucky Ones’; forthcoming on acclaimed UK imprint Anjunadeep, February 2020. Luttrell embarks on a North American tour in April 2020 with global dates to be announced.

Clear Vinyl

Detroit Underground label head Kero returns to his sonic roots with the first of the Detroit Map Series originally featured on the limited DUTT-181 Series functional record player designed by Neubau Berlin. As a kick-start, Kero reveals Highways—a 5-track extended player of (abstract) electronics that is cleverly pulled together with a downbeat flow and tracks aptly sub-titled as major freeway arteries of the Motor City.


"Davison" commutes through glitch bits, bobbles, and broken beats flickering back and forth as it eventually opens midway through the traffic jam and hopscotched potholes with a synthesized melodic stream. Fisher displays its minimized techno flurry and rumbling low-end growl tempered by subtle blips'n bleeps and clinical precision. Southfield busts apart with modular maneuvering and heavy percussion showcasing an opportunity for Kero to cruise in the passing lane as the piece gradually mutates into a crunchy experimental electro epic. Lodge ebbs and flows with The Detroit Escalator Company-styled minimalism felt many miles away from its source. Chrysler expands and contracts with its 7-minute acid-electronic sprawl—here we see Kero carefully downshift to allow an ambient undercurrent to traverse a moonlit sky in the late night hours creating perhaps the finest soundtrack to (minimal) Detroit-inspired techno of yesteryear with a thumping heartbeat. ~PDS

Following their first 7" in 2018 Budabeats Records is proud the release the debut LP of pioneering Hungarian Afrobeat supergroup, the Mabon Dawud Republic.

The band started out as the Fela Kuti tribute band for the very first Felabration event in Budapest.
In the past two years they created an impressive repertoire of their own tunes. The rawness you can hear on their early recordings transformed into a more mature and sophisticated sound, still deeply rooted in the traditions of West-African music.
They even toured in Ghana where they had the chance to record with highlife legend Pat Thomas, as you can hear on 'Gyae Abrabi'.
On 'Na Lie' they are joined by Fela's original Egypt 80 band member, keyboard player and singer Dele Sosimi.
Other guest performances include Ghanaian vocalist and kologo player Stevo Atambire (on 'Mawadioh' and 'Talk to Me') and vocalist Abate Berihun (on 'Nanu Nanu Neye').

James Ruskin & Mark Broom are back as The Fear Ratio with their third album ‘They Can’t Be Saved’.

180G 2x12"

The duo, who are long-term collaborators have created their own signature style with abstract synths, heavy basslines and experimental soundscapes that fit somewhere in between IDM, electronica and ambient.

Their acclaimed debut album ‘Lightbox’ was initially released in 2011 on Ruskin’s Blueprint Records, featuring remixes from Warp aficionados Plaid and Deadhand. Soon after they formed a long-lasting relationship with cult Manchester based label Skam, with the follow-up album in 2015 ‘Refuge of a Twisted Soul’.

2018 saw a four track ‘Live EP’ release made up of exclusive versions of their Autechre supporting slot at the Great Northern Warehouse in Manchester, Several years and various solo productions later, The Fear Ratio return with an album that solidifies their reputation as experimental producers.

From the ethereal opening bars of ‘Sender’ slowly twisting into a brooding dub breakbeat, to the staccato, bugged out atmospherics of ‘Grey Code’, ghostly electronics of ‘Small World’, tripped out, schizophrenic hip hop haunting bass of ‘Game Plan’ and sun-dappled keys of ‘The Final Vision’ Broom & Ruskin flex their techno muscles ever further beyond the floor.

buffering juju, the title of dumama + kechou's debut album, relates to the process of "excavating spiritually charged content from within". The duo's textural sound, driven by cyclical song structures and chant making, not only captures the angst of the modern world but mines this state of affairs for regenerative potential.
dumama (vocalist and uhadi player) + kechou (multiinstrumentalist with a focus on indigenous African instruments and handmade instruments) met in Cape Town in 2017. There was an instinctive pulse to the initial clutch of shows they played together, blowing open vast sonic and conceptual possibilities. "I guess we were in similar places with our music processes in trying to push healing music to the edges and be more experimental with it," says dumama. The narrative of the album unravels as a piece of magical realism informed by South African folklore and reality, detailing a woman's liberation story where the characters shift shape and traverse multiple realms, deploying various iterations of their power or lack thereof. "It has an organic, natural, cyber and modern kind of energy - all rooted in African aesthetics of sound and storytelling," says kechou. All of this sits on a bed of the duo's unique musical language, one that, although applied electronically in the form of looping and soundscaping, is founded on approaches to string, vocal and percussion tones that reflect a merger between Northern and Southern African heritage.
Recorded primarily in Cape Town and Johannesburg over the first quarter of 2019, buffering juju is a conduit to a past we were not necessarily present for, and a future where threatened indigenous technologies thrive in an increasingly digitised world.

(180g LP) On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Hermeto Pascoal, and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio's former RCA studio, Cia dos Tecnicos.

Uzelli Kaset was established in 1971 by Muammer and Yavuz Uzelli in Frankfurt, Germany. Their music resonated not only with the longing that Gastarbeiter (guest workers) felt for the homelands and families they had left behind and the melancholy brought by their difficult living and working conditions in Germany, but also with the joy that welled up at village weddings on their days off, and the long car or train journeys home. Reaching the remotest corners of Germany as well as Turkey, Uzelli Kaset was soon more than just a music company; it became a companion to Turkish workers living far from home. Not counting the handful of 8-track tapes and 14 LPs released in the early days, the catalog consisted entirely of cassettes.

When they opened their Istanbul office in 1977, Uzelli moved beyond production and became successful in the areas of reproduction, distribution and marketing. Taking the catalogs of other production companies under its umbrella, it continued its rapid growth.

The 90s became the CD decade, and because Uzelli Kaset had not released its catalog in CD format, hundreds of albums remained unavailable to an entire new generation. Because the albums had not been released in LP form either, musical explorers ran into the same problem. Remaining active and serving in various areas of the music industry, Uzelli carefully preserved its visual, audio and document archives, ensuring their survival to the present day.

After an immense amount of work, this catalog, which had long awaited discovery by new generations, was finally released in digital format. For record collectors seeking the spirit of those times, we also began offering this special selection of compilation albums in vinyl format. As we created this series, our goal was to guide listeners toward new discoveries, and open new pages for music lovers to explore. Leaving our rich, multifaceted catalog to genuine musicians, curators and artists, our desire became to approach the recordings of that period from a different perspective.

We are overjoyed to know that our continuing meticulous work will bear fruits whose taste and aroma have been long forgotten.

Uzelli

Inspired by artists such as Steve Moore and Aphex Twin, the producer develops a sound that is both brooding and nostalgic, mixing expertly influences ranging from German techno to vintage horror and sci-fi soundtracks. To celebrate the 5th anniversary of his EP Hotline Miami II, Das Mörtal released a limited-edition vinyl of the EP on Record Store Day (April 13th) 2019 with three previously unreleased songs featured on the album. The object is eagerly awaited by the artist’s fans and its copies will disappear quickly.

Parasols (Ali Renault) applies ABS to the bpm with the new beat friendly ‘Diaz’; a slasher disco stalker prowling the lower east side of somewhere deep in your residual nightmares. Red Corner thwacks hard and dusky like a dustbin full of grit. Now your as giddy as the time you had your first bucket. The mutated commentary that underpins this clash of pans melts woozily into ‘Sacrifice’, which comes on all Baldelli inspired like some Rimini horror fest where Benetton and Timberlands frug it out amongst shadows in the Mediterranean dusk. Bursting with energy the finalimente of this accomplished brace of toons is possibly the standout, ‘Cessana Learning’ leers and lurches with weird gut belches that are both melodic and disorienting at the same time; shifting gears midpoint into some glorious electro chimes that will strike a chord with fans of other post techno luminaries such Ed DMX. Get some of this, enjoy flagellate and try to stay conscious!

Max Essa completes a trio of terrific releases on Hell Yeah with The Great Adventure EP. It's packed with more grown up dance floor dynamite and later in the year will be collected together with the first two parts to make for a full album.

By now you will know that Essa is part of the UK's Balearic mafia. He's served up big tunes on Is It Balearic?, Aficionado, Music For Dreams, and his music always acts as a sonic raft that floats you out to sea and leaves you bobbing up and down in a state of pure bliss.

Opener 'Tombolo' starts as acoustic music and the sound of a muffled crowd but soon awakens into an uptempo affair littered with toms, guitar licks and claps that are driven by bumping drums. There are elements of old school, Italo and classic house but somehow it feels completely new and fresh as it takes you ever higher.

'The Great Adventure' is masterfully sun kissed disco with crisp 80s drums, love struck chords and a yacht rock feel that is pure joy, something like topless dancing with sand between your toes and umbrellas in your cocktails.

Closer 'Fool in the Pool' sinks into gentle tabla drums and unhurried chords. It's horizontal and thoughtful - the sound of a lazy afternoon somewhere on the Mediterranean coast, gazing at glistening seas through the romantic lens flare in your sunglasses.

This EP is already great feedback from the DJ dons who have been giving it early plays, so act now to snap up your first summer sounds of 2020.

Luz Azul is a group started by LA-based vocal and performance artist Anna Homler (aka Breadwoman) together with musicians Marcos Fernandes and Robert Montoya in 2007. On this record they compose their own mesmerising cosmic universe where the hypnotic speaking in tongue voice of Anna Homler blends mesmerising together with the sound of her found toys intensified by the shamanistic percussion of Marcos and the pulsating electronics of Montoya.

As fellow percussionists and sound artists, Marcos Fernandes and Robert Montoya's collaborations began in 1983 and ran the gamut from ambient to noise, rock to electronica to improvisation. Both were founding members of Trummerflora, a collective of creative musicians based in San Diego from 1999 to 2009.

All three artists were active in the improvised music scene in Southern California and met at Spring Reverb 2006, an annual festival of experimental music curated by the Trummerflra Collective. At the time, Fernandes was experimenting with processed percussion as well as phonography and samples while Montoyawas exploring improvisational possibilities on the computer.

Fernandes and Homler expressed their mutual interest in collaborating but it was not until the fall of 2007 that they performed a series of concerts together. Pleased with the results, they performed together again in the spring of 2008 with the addition of Montoya. There was chemistry and the trio promptly decided to enter the studio to capture their collective magic. The session yielded the music found on Luz Azul.

Anna Homler - voice, pocket theremin, sample sticks, whistles, assorted dry and squeaky objects, greeting cards, wood devil, tiny metals and motors and potato slicer
Marcos Fernandes - percussion & electronics
Robert Montoya - electronics

Three years after their critically acclaimed and sold out Abrada LP the great and joyful Japanese afro groovers Ajate are back with their much awaited brand new album Alo!

Ajate is a Japanese band who plays a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Formed in 2011 by the band-leader John Imaeda, Ajate consists of 10 Japanese musicians.

Another unique feature of the band is the use of hand-made bamboo instruments as well as traditional Japanese percussion. The "Jahte" is a bamboo-made xylophone or balafon with a piezo pick-up mic attached to each key, connected to a pre-amplifier to obtain a loud sound and to add some touch of dirty distortion to its warm and natural acoustic sonority.

The "Piechiku" is also a bamboo-made string instrument inspired by the west-African "Ngoni" or Moroccan "Guembri" instruments. The Piechiku uses strings of the Japanese traditional "Shamisen". This instrument is also played through a pre-amplifier and John sometimes adds some wah-wah effect to it. All these bamboo instruments are designed, made and named by John Imaeda himself.

On Alo you will also be amazed by the exceptional sound of the Japanese Shinofue flute, which was not on the previous Abrada LP. Now, add to this unique sound some well-crafted Japanese female and male singing and you get a killer mix of Afro-Funk flavored grooves with traditional Japanese music!

Since the release in 2017 of their Abrada LP on the 180g label Ajate has toured Europe twice and has played a memorable concert at the world famous Trans Musicales festival in France in 2018, which has been followed by another great KEXP Live session.

Here is some music you will not be able to hear anywhere else, by one of the most joyful Japanese band to hear on record and to listen live!

Two giants of Brazilian music back-to-back!

Jorge Ben can do it all - vocalist,songwriter, musician, producer and to many their ‘all-round’ favourite Brazilian artist. Jorge has had an amazing career, involved in music from the early 60's through to the current day, writing countless classic songs for him and other artists.

This awesome samba-disco-funk joint 'Waimea 55.000’’ is a lesser-known production, taken off a 7” B-side released on Som Livre in 1978. This is a gem which needed to be dusted off and given the
wider audience it deserves.

Baby Consuelo with her distinctive voice is one of Mr Bongo’s favourite Brazilian singers. The only female founding member of the mythical group Os Novos Baianos, Baby is a real innovator andpioneer, changing her persona and musical styles over the years, but still staying unique.
Here we have Baby at the start in raw psychedelic hippy mode,
giving a powerful vocal delivery where she manages to sound simultaneously badass and lovable. This early song was released in 1970 on RGE records on a compacto 7” credited to Baby Consuelo and additionally featured on OsNovos Bahianos’s debut album 'É Ferro Na Boneca!’ in the same year (re-issued on Mr Bongo in 2019).

It is hard to think of many 7” singles where both sides are as heavy as this one! "Change The World" & "Try, Try" were released in 1977 by 'Solat', a Dutch-based funk group made up of Surinamese and Dutch-Antillian musicians.

Formed after ex-band members of Reality/Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records. With it's crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match.

Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. 'Change TheWorld’ is an anthemic feelgood disco funk gem, whilst 'Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production.

Mr Bongo present a replica edition with dinked centre- and original cover- and also label artwork, for all to enjoy!

Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.

Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dance floor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colours and rhythms, oscillating, resonating and highly immersive.

After his last release on Dirt Crew in 2017 we are more than delighted to bring back the talented Harry Wolfman.
With impressive records on labels like Phonica, Omena, Outplay and Toy Tonics in the last years he has drawn up a fine new selection of music that spans across many genres and moods. This is also the first release for us in the new year after a lil break and it continues to explore the more eclectic approach we are following for a while now since the outings of artists like Dampé, S3A and Dan Only.

Harry presents an exciting opener for his new EP, together with vocalist Christian Crow he has made the blissful and breaks laden “poppy” good feel tune “A Way You Come Home to Me” that shines a bright light in these darker months. Followed by the deeper club tune “Step by Step”, building around yet another vocal recording. This time it’s Harry sampling his own voice and looping it into a repetitive piece of good feel House music.

We are getting deeper on the B side with “Speaking Raman”, one of these signature Harry tunes, a playful dusty lo-fi piece of music build around a piano theme and embedded in deep bass and driving beats, his sound trademark on all of these more floor orientated tracks on the EP. To close out the record we added two of his cinematic, ambient electronica works that we personally love so much. The haunting “Always 3” is a deep sphere that sucks you in a meditational and soothing womb of sounds. Ending with the electroid cut “Green Trees”, it’s broken and fragile and gives this indie-tronica track a warm and gentle touch.

We hope you enjoy these tunes and that they may be your soundtrack to the upcoming warmer months.

ERUPTION is an outburst of creaking energies, unconventional ideas, arhythmic thoughts, cacophonous images and musical phantasms. ERUPTION is also the name of the second album by Kluster, a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius. ERUPTION was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre Conrad Schnitzlers’, as well as by his free-spirited thoughts and actions. The result was a multi-faceted programme of concerts, performances, sound and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler & Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler‘s contemporaries

such as Ken Montgomery, Wolfgang Seidel and Asmus Tietchens, as well as young artists who developed works especially for ERUPTION. Among them are Lena Willikens & Sarah Szczesny with fragments from their performance Phantom Con Ballet, the DJ Phuong-Dan who composed a musical collage from the poem About Rhythmus and rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler and many more. Initiated and curated by Nika Son, a musician and artist based in Hamburg

Sheer power. With 'Tears Of Joy' Stefan Goldmann hands in an array of unapologetically bass-heavy techno cuts. Attacking a sound system's full width, these simplistic two-tone workouts turn out to have tremendous depth. Never standing still, constant feisty modulation keeps basslines and bodies.

Ionisation is the first LP by Italian poet Adriano Spatola. Born in Yugoslavia in 1941, by the age of 23 he became a major force in the Italian avant-garde. “Towards Total Poetry,” Spatola’s critical study on the state of modern poetry, spells out his position: “to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins.” Graphic poetry (cut-up zeroglyphs), volatile and beautiful prose (particularly his books The Porthole and Majakovskiiiiiiij), and of course sound poetry, represented here for the first time. Spatola was the editor of many underground publications: Baobab (a legendary audio-cassette magazine), Tam Tam, and Edition Geiger. Each of his pursuits spread the margins of the format, all done with a relentless, piercing curatorial eye.

Spatola has dark, drunken wit in spades. In his sound poems, an even more saturated persona is conjured. A desperate humor sneers through this LP, a humor that has surrendered to the severe joke of life long ago - lashing out on syllables and ingrown word games. Particularly, his classic “Aviation/Aviateur” (akin to his “Seduction/Seducteur,” & “Violacion/Violateur” etc.). Read by lesser performers, these pieces would falter and float by in the trough, though Spatola’s bull-like confidence tears through. “Poker Foundation” features the poet hysterically singing “the play of the words” over a classical radio piece, mocking and squawking against the string swells. Steve Lacy plays scissors, knife, and saxophone on “Hommage à Eric Satie,” a piece originally recorded for the luxurious Cramps LP boxset Futura. Collaborators Gian Paolo Roffi and Paul Vangelisti are also featured across the collection.

The LP concludes with the titular work “Ionisation,” recorded just days before his premature death in 1988. Feeling his sinking health, his belly in the quicksand, he prefaces the piece, “a funeral march for my body.” He proceeds to scrape and pound the microphone on his chest, face, and clothing. This thick pumping of Adriano’s torso rapping across the speakers abruptly stops after two minutes. A piercing moment.

I was born the day after Adriano died, which has some poetic meaning to me, naturally. I am indebted to him, his sickly sweet manner. The opportunity to publish these largely unknown sound works is an honor which brings a warmth to my torso. Much appreciation goes to Giovanni Fontana (poet and dear friend of Adriano), who helped produce this edition with me. “Every single word has been a tempest of gestures.“

Sean McCann, January 2020

Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. This was completely unexpected, a major learning experience, and above all a lot of fun and gave the Lyon-based gang a whole lot of ideas for the next stage in their musical journey, propelling them towards new musical horizons: infectious riddims with grooving keyboard & guitar licks as their bedrock and free association leading them into jazz, broken beat, soul or disco vibes … During the creation of Let It Shine, all doors were wide open and all musical genres potentially welcome. The production still has a « home made » feel to it, like the previous album, but with a modern, sonic twist when needed- a result of three years on the road together and new creative input from group members. Whether it be on a New York summertime roof-top, or settled in a Low-Rider with some G-Funk, or moving to some phat Jamaican style bass-lines or getting sensual on a tight breakbeat, lead singer Hawa knows how to shine her feminine and versatile brilliance on the project. She gives to the songs the final touch and the emotion needed to share with us her stories about human relationships - everyday tales sharing her real life-experience. This ever-expanding musical spectrum, Da Break play with it, explore it and also let it kick
completely free at times ! Song after song, they bring a magic glow to LET IT SHINE.

Deliberately breaking all the rules Mr. Hornby once famously outlined regarding the creation of homemade (tape) compilations, Saroos’ members indeed had the term “mixtape” on their minds while working on their latest full-length – albeit in the hip-hop sense: a sonic snack box, interconnected shots from the hip, something that just came together and immediately felt right.

Whereas hip-hop folks nowadays often use the vacuous term “project” in order to steer clear of the ontological debate caused by the almost synonymous use of album/mixtape, Florian Zimmer, Christoph Brandner, and Max Punktezahl, otherwise busy with The Notwist, Driftmachine & Lali Puna, stick to the classics: their new 16-track project “OLU” (Off Label Use) is, officially, still an album. But it’s wild and vibrant like a mixtape, interwoven like its cover: a seamless burst of ideas, impulsively combined to form a split-screen snapshot of recent moments and momentums.

Re-appropriating the term “Off Label Use” – which actually means: using prescription drugs in ways that aren’t mentioned on the instruction leaflet – in their own “off-label” way, Saroos never sounded more loose-limbed and elastic. Whereas the trio’s earlier releases were rather conceptual and homogenous, “OLU” indeed has a more loose, spur-of-the-moment feel, a spontaneous force at its core. Checking the weighty sci-fi inspirations at the door, they use that Bomb Shelter-type of freedom to reinvent themselves at every turn, chasing sounds that happened to emerge in the group’s triangular energy field.

Kicking it off “with a killer, to grab attention” (Hornby/Cusack, after all), the massive reverb-stumblin’ adjustment between beats and bass of opening track “Quarantaine” cross-fades smoothly into “Humdrum Rolloff,” an early hint at the group’s off-label practices: the underwater creepers floating around here were really voices (mostly). From majestically built oriental sound-pieces (“Looney Suite Serenade”), synth-based “End House Mario” and a triptych of speaker-boxxxing gas lamp experimentations entitled “Cord Burn 1-3,” Saroos have rarely sounded this playful and unrestricted: there’s a new energy at work that welds all the different sonic playing fields together to create one continuous 40 minute mix.

For the B-side descent, “Tatsu Jam,” at less than 4 minutes still the longest cut, billows over the kind of sizzling hi-hats you’d expect to hear on real trap tapes from Hotlanta. A prelude to a bunch of quicker-paced instrumentals (“Scratch Pets”, “24h Love Gumbo”) and ambient sun showers, until the next “Plateau” (Mo’Wax vibes!) brings the beats to the fore once again (“Tomorrow’s Kudos”), and the ultimate “Whirligig” sounds like a mix of Oktoberfest 2020 and Johnston’s “Casper The Friendly Ghost” coming apart at the seams.
Whatever you wanna call it – album, LP, mixtape, project, who cares? –, it’s definitely a double A-side tour-de-force.

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

Taylor Swift, seven-time GRAMMY award winner, and the
youngest recipient in history of the music industry's highest
honor, the GRAMMY Award for Album of the Year. She is the
#1 digital music artist of all-time and is the first artist since the
Beatles (and the only female artist in history) to log six or more
weeks at #1 with three consecutive studio albums. Taylor has
an album on Rolling Stone's prestigious The 50 Greatest
Albums of All Time (by women) list, Time magazine has named
her one the of the100 Most Influential People in the world, and
she is Billboard's youngest-ever Woman of the Year. Taylor
has career record sales in excess of 30 million albums and 75
million song downloads worldwide, and has had singles top both
the pop and country radio charts around the globe.
LONDON, 18th August 2014 - Taylor Swift, announced her new
album 1989 and it is available immediately for pre-buy on
TaylorSwiftand iTunes. In addition, Taylor released Shake
It Off, the first single and video from her fifth studio album.
1989 is a touchstone - Taylor's songwriting and sonic evolution
surprises us more than ever before. Heavily keyboard and beat
driven, the pop sensibilities that have always been the hallmark
of Taylor's music now move front and centre on 1989. "I spent
two years making 1989. Two years gives you enough time to
grow and change and let things inspire you. I was listening to a
lot of late 80's pop music and how bold those songs were and
how that time period was a time of limitless possibilities. In
thinking about that, this album is a rebirth for me. This is my
very first documented, official pop album. 1989 is the most
sonically cohesive album I have ever made and my favourite
album I have ever made," said Taylor.

**Double LP - 180 GRAM** Already Platinum. Impeccable design. Although this is one of the more talked about records of his career, there's no doubt that this is a testament to JAY Z's diligence, entrepreneurship, and artistic vision. Picking up where Watch The Throne left off, Magna Carta Holy Grail is JAY Z's twelfth studio album, and a portrait of an emcee embracing fatherhood, marriage, and striking a balance between a past spent coming up and a future shuffling around the top. The LP also includes a limited edition flexi-disc postcard of exclusive non-album track ''Open Letter'' hidden under the artwork on the back cover. Production is helmed largely by J-Roc, Timbaland, Pharrell Williams, Hit-Boy and others, while featuring performances by Beyoncé, Rick Ross, Justin Timberlake, Frank Ocean, Nas, and more. With MCHG, JAY Z understands that hip hop is starting to enjoy the same clout as fine art and, even better, hip hop is alive, a part of the world, evolving, and not cordoned off in a museum. Play it forward and grab a copy now.

black LP+CD, 180 gram

Disco Segreta makes another dream for italo-disco hardcore true!

The first ever 12” officially licensed repress of this Yamaha DX-7 and Polysynth arpeggiated 1985 italo-disco masterpiece, previously released only as a b-side of a 45 on the tiny italian Discokkio label.

The 12” edition – made in collaboration with Metastasio himself – will feature the original version plus an alternate instrumental and vocal versions of “With You”, recovered from the original demo tape.

DSM009 will be strictly ltd. to 300 copies.

After the first classy, deep and aetherial 12" back in May 2019, B2 Recordings is back with it's second release, and here we see the labelowner Bengoa move things forward with a three-track EP of all original material following a five-year hiatus. Title-cut 'Forest Law' takes the lead with robust, organic percussion at its core while wandering subs, airy, circling synth lines and vocal chants ebb and flow throughout the groove to create a rolling, hypnotic groove. 'A Little More' opens the flip-side next, embracing a dub leaning feel with choppy stab echoes, crunchy drums and bumpy bass hits before 'Corponation' rounds out the release, laying focus on expansive voice murmurs, airy atmospherics and an acid tinged bass hook alongside loosely shuffling, jazz tinged drums.

Yokohama-based producer Foodman - aka 食品まつり or Shokuhin Matsuri - continues his expansive sonic voyage with his new EP Dokutsu, out on 6th March 2020. It follows his 2019 release ODOODO, which was issued on Diplo’s Mad Decent label. Dokutsu is the first release on Highball, a brand new label exporting forward-thinking music from Japan.

Foodman emerged from Japan’s nascent footwork scene, using the genre as a springboard for an escapist exploration into a dazzling array of sounds. He’s since earned the respect of influential fans including Diplo, Benny Blanco, Cashmere Cat and HOMESHAKE, while Pitchfork, Noisey, FACT and Tiny Mix Tapes have included his releases in various ‘best of the year’ lists since 2016.

Opening track Kazunoko sets the tone for what will follow. Its woozy rhythm is evocative of the off-kilter playfulness that’s become a hallmark of Foodman’s uncategorizable artistry. It’s also a sign of his inventiveness that he constantly adds fresh layers to the track without losing sight of its light-hearted, spacious feel.

Another of Foodman’s unorthodox traits is his ability to meld the frenetic with the soothing. Hirake Tobira is a case in point. Its production is hypnotic, while its central motif - endless twists and variations on a vocal sample - is sufficiently insistent to demand attention. Kachikachi reverses the trick with a thrilling rush, stuttering otherwise unobtrusive sounds.

Elsewhere the EP plays on sonics which have echoes of the familiar while remaining alien: the boss fight soundtrack of Oshiro, the clattering percussion that dominates Imo Hori, and the ambient psychedelia of Konomi.

Based in Yokohama, an hour south of Tokyo, Foodman’s multifaceted skills also encompass DJing and painting. His press image, shown above, is a self-portrait. From the stripped-back sketches of his 2012 set Shokuhin (released on Giant Claw’s Orange Milk label) to the richer textures of ODOODO, Foodman has subverted everything from Okinawan folk to J-Pop to D&B/classical fusion into his own otherworldly inventions.

Drum & Bass duo The Prototypes release their much anticipated debut album 'City of Gold' on Viper Recordings following hit singles such as 'Pale Blue Dot', 'Don't Let Me Go' and 'Pop It Off'.

Already one of the hottest acts in the UK Drum & Bass club scene having 3 out of the Top 10 best selling tracks of 2014 on Beatport, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound and vocal anthems.

Gold Vinyl

"Dope On Plastic" is a new various artist EP series on Dope Plates. The series showcases four 90s influenced tracks from both established and new artists.

Vol 01 features Sicknote & Dissect, label regulars Chromatic and Acid Lab plus new signings Dark Ops and Alg0rh1tm.

in the labels 15th year history there only been a few reissues in the widely ramified discogra-phy. lydia lynch in 2006, hans-joachim roedelius in 2013, fumio itabashi ‎in 2018 and soon skymark ‎with his jazz album “primeiras impressões”.

the italian producer, composer, record collector and modern sun records label co-runner, that listens to the name marc friedli when he hands his tax report to the government, is no stranger to fans of modern brazil, disco, fusion, house, latin, jazz, funk, soul and all other organically swinging music that grooves classical and deep.

since 2007 he released a string of albums and ep’s on his own label as well as on imprints like neroli, mukatsuku records or rush hour, showing his impressive electric piano keyboard skills and unique communication on and with an array of vintage synthesizers like arp, proph-et, moog, roland or korg.

on his privately pressed, strictly limited to 150 copies album “primeiras impressões” he de-livered in 2013 nine gently jazzing tunes that process his experiences in the heat of the city of rio de janeiro.

they are intensely spiritual. they avoid ornamentation. and they bow before jazz history with a gentle respect, while adding an elegantly searching, thrillingly uplifting freshness to the genre with deep discreet minimal funk and light as a feather piano-melodies, as if the key-board were a saxophone.

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

What more can be said about Saint Petersburg producer Mikhail Khvasko, aka A Vision of Panorama that hasn’t been said before?
His ”Sentimental Coast’' EP continues to cultivate his unique glistening soundscape characterized by a lush jazz-tinged blissful Balearic ambience. The four original tracks here are a range of sun-drenched, unfolding narratives, full of gentle sounds and chords.

Smooth and vibe-focused ''Atlantic Dawn'' exudes sensuality-tethered vibe that is highly intoxicating. Emblazed with mysterious deep breaths and shimmering sonics that entrances the listener straight away to the whole release.

Disarmingly beautiful ''Mediterranean Tribal'' is an old school-fare downtempo jam with classic chilled out laid back Mediterranean instrumentation.

''Sentimental Coast'' is distinctly deeper and more emotive than his vintage synth-laden sounds and is one of his most fragile and still moments within a superbly arranged delicate piano solo.

On ''Vibechos'' things get more upbeat and aquatic, featuring beautiful chords and textures that float into the track with a sun-kissed vibe reminiscent of Italian dream house. “

- DJ Nova (Nova Planet Radio Show, Greece).

Toyah's personal favourite album of her catalogue, “Ophelia’s Shadow” (1991), features a band line-up including Trey Gunn on stick, Paul Beavis on drums and Tony Geballe on guitar. Two tracks, “Brilliant Day” and “Lords Of The Never Known” feature Robert Fripp and were originally played live by the band Sunday All Over The World (which featured Toyah, Fripp, Beavis and Gunn).

Issued on vinyl for the first time since 1991, with a new inner sleeve, the album is pressed on 180 gram translucent aqua vinyl.

“Take The Leap!” (1994) saw Toyah revisit some of her classic hits – “It’s A Mystery”, “Thunder In The Mountains” and “I Wanna Be Free” – as well as earlier punk material in a heavy rock style. Six original compositions also feature, written with Nick Beggs (Kajagoogoo), Cris Bonacci (Girls School) and Simon Darlow (Buggles). Includes previously unseen photography and adds five revisited classics on Side Four.

First ever release on vinyl, and pressed on 180 gram clear vinyl.

You'd be forgiven for not realising this is " Nymfo's " first EP for 'Metalheadz' considering he's one of the Netherlands' finest drum-
and bass exports boasting releases on some of the genre's most revered labels.

Opening with the title track 'Sting Blade', the EP hits hard in true Nymfo fashion, but as he's shown over the last decade & more he's perfectly capable of executing several styles, something exemplified as you journey deeper into the release. Fellow Dutchman & Berghain staple Martyn also features for a vigorous work out on 'What's Happening'.

»Alchemy« is the debut album from 22-year old singer-songwriter Tara Nome Doyle, following the singles »Heathens«, »Neon Woods« and »Mercury«. Doyle’s 2018 EP »Dandelion«, featuring her breakthrough-hit »Down with You«, has so far amassed nearly two million streams. Recently, two of her songs featured in Sophie Kluge’s feature film »Golden Twenties«. Doyle is a member of Kat Frankie’s choir on whose a capella EP she features.

»Alchemy« deals, in two songs each, with the four phases of development of the pre-modern natural philosophy, the alchemy. The album can be read psychologically or as a portrait of someone coming of age. Experience and reflection are closely entwined which is as beautiful as it’s threatening.

Doyle, whose middle name is pronounced just like »Naomi«, is from Berlin-Kreuzberg, her parents are from Ireland and Norway. She speaks (and sings) both languages without accent. Is it permissible to recognize the biographical background of these landscapes in her art? The stored heat and the fog from the Irish peat bogs, the magic of the the Norwegian forests?

The concept album was recorded in large parts with David Specht (bass player and producer of Isolation Berlin) and Doyle's newly founded band in Berlin. Specht remains reserved, keeping the band in check. It’s the interiors that we should hear – acoustically, but also thematically. The drums sound more like a knock on the window pane than the city noise outside the door, the guitar controls the harmony and not the power supply. The first instrument remains Doyle’s voice, which is always working and is looking for a way. Inward, outward. All songs were written by Doyle, for the arrangement for »Neon Woods« she worked with Max Rieger (Die Nerven, producer for e.g. Drangsal and Ilgen-Nur).

MIDTGAARD is danish Balearic DJ/ producer Anders Midtgaard. Sommerfugl (means Butterfly in danish) - the Original version was handed out to a few DJs in Ibiza last year. First up Italy's finest, Luca MOPLEN has in masterful style been re-working this piano driven groover that oozes summery flavour all over. The package here also comes with a great balearic re-rub from Denmarks Mike Salta (MFD) and the Original version. Support and kind words from the likes of Kenneth Bager (Music For Dreams), Francois Kevorkian, Phil Mison Colleen Cosmo Murphy, Willie Graff and many others.

A unique album of outtakes from the classic ‘Songs
Of Praise’ and ‘In Pursuit Of Shashamane Land’
albums, compiled by On-U archivist Patrick Dokter
from the original tapes and expertly sequenced to
work as an immersive listening experience. A
companion piece to the acclaimed ‘Return Of The
Crocodile’ set from 2016 that took the listener on a
version excursion through the early years of the
group.
 These are the dubbier and more out-there
experiments mixed down whilst Adrian Sherwood
was shaping the sound of the albums. Bubbling
percussion lines skitter across the stereo spectrum,
ghostly voices echo inside the machine and
mangled guitar riffs beam down from Mars, whilst
staying rooted in the tough tribal rhythms that
form the bedrock of the AHC sound. This is music
for the head and feet, take heed!
 Mastered by King Kevin Metcalfe. Comes with
digital download card for full contents plus doublesided poster insert containing an extensive new
interview with African Head Charge mainman
Bonjo Iyabinghi Noah, telling the story of his early
life.