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Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.

The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.

The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.

The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.

Limited Press - Numbered Insert - Drum Fun Guaranteed. .

Back in 2017, Field Of Dreams remixed the deep house masterpiece, 'La Nuit Des Tropiques' by Les Crocodiles. It became a firm favourite with the late, great Andrew Weatherall and his partner Sean Johnston at the ALFOS parties.

With only a few DJ's given a copy of the demo, it gathered momentum and was set to be huge. Unfortunately, due to a couple of abortive attempts to get it pressed, it was never released.
The FoD boys have now licensed their own remix and can now put it out there for all to enjoy on their own label.
Add to that an amazing Pete Herbert chuggy remix of their 'Pourquoi?' single which, again, never saw the light of day until recently, on digital, and we have a pretty special 12 already.

Al & Chris decided that wasn't enough. They thought their much loved deep house track, 'In Our House', needed a bit more love so gave it a slight re-edit/re-eq and brought a banging new track, 'Protect Yourself' into the fold. The result is a rather special 12 inch record with four completely different but equally strong tracks.

No fillers here.

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

Northern soul is in the news again, as once more this most resilient of dance floor cults is discovered by a new generation. For four decades now Ace Records has been a natural home for the music and using that experience we are bringing you our first ever all classics collection of some of the scene's greatest hits. All on one LP.

The recordings featured on this release are tried and tested, often in the hot forge of the scene's earliest day, when new discoveries were coming thick and fast, and only the strong survived. These did.

So we have 14 tracks which filled floors in Wigan, Blackpool, Cleethorpes, London's 100 Club and many other legendary venues. From West Coast Mirwood and Kent/ Modern label classics by Jackie Lee, Bobby Garrett, Mary Love and Danny Monday, to the big City Chicago soul of Darrow Fletcher via the super rare recordings by Rita & The Tiaras and Little Ann, which are now accepted standards of the scene.

This is an album for the beginner, those who want to know what all the fuss is about, or those older hands who just want to relive some exceptional memories.

Die Stereophonics melden sich zurück mit ihrem 13. Studioalbum ’Make ’em Laugh, Make ’em Cry, Make
’em Wait’!
Mit drei Jahrzehnten und einer Fülle von rekordverdächtigen Erfolgen, darunter 8 Nummer-1-Alben, haben
sich die Stereophonics ihren Status und ihren Respekt bei ihren Fans, Kollegen und Künstlern aus allen
musikalischen Generationen - von Bob Dylan über David Bowie bis hin zu Dua Lipa - verdient. 2025 ist es
endlich wieder so weit und die Fans erwartet ein dichtes und knallhartes Acht-Track-Album. Geschrieben
und aufgenommen in London, ist es ein Album ohne Fillertracks. Es ist gleichzeitig sauber und präzise,
sowie Hoffnungsvoll und freudig. Es hält, was es auf dem Cover verspricht:
Du lachst, du weinst, du wartest.
’Make ’em Laugh, Make ’em Cry, Make ’em Wait’ erscheint am 25. April auf Vinyl, CD und digital.

Die Stereophonics melden sich zurück mit ihrem 13. Studioalbum ’Make ’em Laugh, Make ’em Cry, Make
’em Wait’!
Mit drei Jahrzehnten und einer Fülle von rekordverdächtigen Erfolgen, darunter 8 Nummer-1-Alben, haben
sich die Stereophonics ihren Status und ihren Respekt bei ihren Fans, Kollegen und Künstlern aus allen
musikalischen Generationen - von Bob Dylan über David Bowie bis hin zu Dua Lipa - verdient. 2025 ist es
endlich wieder so weit und die Fans erwartet ein dichtes und knallhartes Acht-Track-Album. Geschrieben
und aufgenommen in London, ist es ein Album ohne Fillertracks. Es ist gleichzeitig sauber und präzise,
sowie Hoffnungsvoll und freudig. Es hält, was es auf dem Cover verspricht:
Du lachst, du weinst, du wartest.
’Make ’em Laugh, Make ’em Cry, Make ’em Wait’ erscheint am 25. April auf Vinyl, CD und digital.

For their second album 'The Foel Tower', Quade holed up in an old stone barn in the cradle of a Welsh mountain valley.
The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. “There was very much a feeling of being on the complete fringes of society,” the band says. “The last vestiges of settlement before the unrelenting barren moors that loomed over us.”
It was an environment that would shape the band – a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths and Tom Connolly – and the record they have made. It’s an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent – gliding across genres like winds blowing over those wide-spanning Welsh hills – to arrive at something the band half-jokingly, yet somewhat accurately, describe as “doomer sad boy, ambient-dub, folk, experimental post-rock.”

Quade is a band but it’s also a very close-knit group that have been friends since childhood who use this musical vehicle for interpersonal explorations and connections. “We’ve individually experienced a lot of difficulty over the last several years and Quade has represented a space to shelter from these,” the band says. “This means we often communicate extensively with each other about the issues affecting us individually and collectively. These conversations and concerns are central to The Foel Tower.”

In many ways, the making of this record – or any Quade record – goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. “A key theme of the album relates to why we connect with specific places in the way that we do,” the group says. “We often remove ourselves to isolated valleys, sheltered from some of the painful personal struggles that we have experienced as a band. These become spaces in which we collectively purge ourselves of some of these difficulties hoping to make Quade a physical and emotional place of solace. This album celebrates these places that we’ve been able to retreat to and recuperate.”

It is a deep, dense record that is stuffed with musical, cinematic and literary influences – from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats – but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered.

Made with producer Jack Ogborne and mixer Larry ‘Bruce’ McCarthy, there is a pleasing duality to the final sound of the record. One that feels fragile and intimate but also powerful and forceful, as introspective as it is expansive, and a record that is as detailed and textured as it is wide open and spacious.

The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. Which it can then send as far as 70 miles to Birmingham. However, in the late 1800s this land was occupied by local farmers and families in the hundreds until the British Government acquired the land, cleared the valleys, and promptly displaced them in order to begin serving the vastly expanding industrial English city. The band dug into the history and politics of this and wove it into the themes they were already thinking about, using what the Foel Tower stands for as something of a contemporary metaphor. “This tension was something that we wanted to explore without the haughty judgement of our more metropolitan lifestyles,” they say. “And to explore how this specifically relates to ourselves: how can we envisage a genuinely ecological future for ourselves – one that is accessible, affordable and in harmony with endangered rural practices.”

What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It’s a snapshot of those 10 days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape. “The album very much feels tied to this valley for us and the conversations and experiences we shared there,” they say. “It brings up a great deal of poignancy for us, an emblem of some fleeting respite from the strains we all have to experience. But there’s also deep sadness knowing how transient these moments are – in fact, there’s just a great deal of sadness in this album. But it’s also a record that while personal, resigned, and emotionally burdened, is ultimately hopeful.”

Higher is the third release of french producer Antoine Bourachot. You will find three originals that confirms his love for groove filled music ranging from pop to club ready tracks. This vinyl also includes remixes from Myd, Diogo Strausz and Art of Tones to continue things of the dancefloor. The sun is never far.

2025 Repress


No skips, no pauses-since 1995. Sonic Groove Records of New York celebrates an important milestone: 30 years of crossing the parallels within electronic music. This special compilation features exclusively unreleased tracks by some of the most innovative and respected icons in techno and industrial music, each carefully crafting top-notch works to create an album filled with all killer, no filler selections. The legends of Sonic Groove live on!

Low Fuzz is proudly debuting with Avoiding Traps LOWFUZZ001, an album by Georgian musical auteur Rezo Glonti. Created using only Max/MSP and the Soviet-era LOMO MKE-100 microphone, this work marks a departure from Glonti’s traditional approach to sound. Filled with subtle yet unconventional ambient shifts , each track weaves tranquil textures, flavored with vocoder and vocal-driven sounds.
LOW FUZZ is an independent record label, musical platform and event series est. 2022 in Georgia, Tbilisi curated by ESI (Irakli Shonia).
LOW FUZZ is closely affiliated with Mutant Radio and Left Bank in Tbilisi.
The concept started as a collaborative show with Mutant Radio, and it's grown with Left Bank to host regular event series in the club setting. With the proper sound system to showdown and the ability to extend the playtime, LOW FUZZ lines up all sorts of genres and styles to host locals and artists around the globe from time to time

Full page feature in Wire Magazine (March 2025, Issue 493) 'the freak audio series continues with the lysergic You Didn't Hear It From Me which combines dubbed out sampledelia and metallic beats with ghostly saxophone soaked in an acid bath'

Polonius AKA Egyptian-French artist Seif Gaber, whose works spans a decade of “science fiction archeomiragical time travel" explorations and is an important piece of the healthy electronic/far out mosaic in Milan.

With a considerable number of releases under his name, both self released and through such likeminded labels as Ikuisuus, Goaty Tapes or Sun Araw's Sun Ark, Polonius grand vision encompasses a myriad of languages culled from kosmische travelings, exotica's dreamlands, soundtrack psychedelia, spiritual jazz escape routes and transmuted beat science to convey them into a sonic fiction where all these trails intertwine in a cosmological soundscape filled with wonder and speculation.

Building on last year's more beat-centric excursions of his self-titled vinyl debut on Stoned to Death, Polonius' first entry into the Discrepant extended family via Souk finds him dwelling deeper into rhythmic mystic extrapolations through a series of hallucinatory tracks. Conveying jungle's kinetic energy, dubwise meditations on bass weight, collapsing beats, globetrotting percussion accents and synth-driven night drives, 'You Didn't Hear It From Me' finds Polonius with a strong sense of purpose and direction, reconvening bits and pieces from the netherworld into a more urban scenario, not quite any we can stand or dance on. Just dream of.

"As one of the founders of Philadelphia soul, Harold Melvin & The Blue Notes played & recorded for a few decades, but the musical highlight of their career must have been when Teddy Pendergrass joined ranks between 1972 and 1975. Wake Up Everybody from 1975 is the last album on which you can hear his sultry vocals before he went solo, and it is filled with profound, uplifting & thought provoking songs that in some cases are better known for their covers than for their originals. The song ""Wake Up Everybody"" was a radio hit for John Legend & The Roots, and ""Don’t Leave Me This Way""’ is a disco classic that was made even bigger by Thelma Houston. This 180 gram audiophile vinyl version has a special bonus track: an 11-minute remix of ""Don’t Leave Me This Way"" by inventor of the remix and the 12”: Tom Moulton! Wake Up Everybody is available as a 50th anniversary edition of 750 copies on dark green coloured vinyl."








[h] Don T Leave Me This Way [Tom Moulton Mix]

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

A collaboration between US label Astral Spirits and Sweden’s Thanatosis Produktion, It could / If I marks the debut album from Stockholm-based duo Johan Jutterström (saxophone) and Alex Zethson (piano). Together, they reinterpret jazz standards and explore an eclectic mix of compositions by Leonard Cohen, Pet Shop Boys, John Lurie, and 19th-century composer Alexander Fesca.

Jutterström and Zethson’s musical partnership dates back to their teenage years, when they bonded over a love for jazz and the struggle to find their own voice within it. Their duo work has always been about navigating that tension—trying to capture jazz, failing, and finding another way forward. This album continues that pursuit, emphasizing not just what is played, but how it is played.

The record’s title reflects their approach: a process of reaching for something just out of grasp. Songs are deconstructed, rearranged, and treated like palimpsests—scrubbed clean and rewritten while allowing traces of the original to shine through. The result is a dynamic and deeply personal exploration of sound, filled with both reverence and reinvention.

Both musicians have extensive backgrounds in jazz, improvisation, and experimental music. Zethson, a prolific pianist and composer, has worked with ensembles like Fire! Orchestra and Trondheim Jazz Orchestra, and plays keyboards in ensembles such as Vilhelm Bromander Unfolding Orchestra, Goran Kajfes Tropiques, Vathres, and Angles (current with the jazzopera The Death of Kalypso). Jutterström, a saxophonist with an artistic PhD, has performed internationally and runs the ensemble STHLM svaga, a band who have performed commissioned pieces by jazz legends such as Ron Carter, Archie Shepp and Roscoe Mitchell.

With It could / If I, the duo crafts an intricate, ever-shifting dialogue—an ongoing attempt to "stick jazz music," as they put it, constantly approaching, never quite arriving, and finding beauty in the pursuit.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

repressed !

Setting out to make some 'happy music', Sophie Lloyd produced Calling Out' in a dreary January as an antidote to the pervading doom and gloom of the news, summoning the power of the most joy-filled sound of all, gospel. This no-holds-barred anthem radiates all the live atmosphere of gospel worship in mid flow, with full instrumentation, keyboard breaks and understated kick drum pulling it all together. Bringing in the uplifting voices of soul trio Dames Brown to re-record some old gospel samples was the icing on the cake, adding the last element of authenticity. A new member of the Classic family, Sophie Lloyd's impeccable knowledge of disco, soul and house shines through in this sparkling record, available on 7' for the very first time.

Night Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record’s producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part
album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. »Night Keeper« is a performance inspired by sleeplessness and the wanderings of the human mind at night—about time and memory.
Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighbourhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. As he explains in the liner notes—accompanying the music along with drawings made by audience members during the performances—he started listening to the particular way in which the voice in his head navigates time and language. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different
situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds: the guitarist, whose latest release for Hallow Ground was 2021’s First Man In The Moon with Polish double bassist Jacek Mazurkiewicz, conjures up distinct sound worlds in which Young can let Landsman’s scenes unfold to gripping effect.
Landsman makes it clear that »Night Keeper« was intended as an invitation to »stay up, look out the window, let what’s happening outside spark reveries or predictions« or even take it on a stroll through the neighbourhood—at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically.

Mark Rae is a well respected artist and has woked with, and alonside many legends in the music industry. Originally finding success with Rae & Christian, Mark grew his record label Grand Central Records into one of the biggest indies of the late 90's. Now writing novels with soundtracks Mark is proving himslef to be a true renaissance man. Expect big things from this project. It is unique and filled with universal emotion.

£8000 booked spend on singles plugging to radio and book PR. Expect coverage on BBC Radio 6 and 4. Expect press coverage across major publications. Supported by Chris Hawkins. This release is backed with a vinyl that comes with a free novel, and a novel that comes with a free acoustic CD.

Marathon is an Amsterdam-based band rooted in the intensity of the underground scene and the post-punk revival. With a blend of punk, shoegaze, and indie, they create a sound where emotion and raw energy converge. Founded ten years ago, the band found its unique identity after finding its way through the vibrant Amsterdam music scene. Marathon’s music captures the anxieties of the 21st century with powerful drum lines by Lennart, gritty vocals by Kay, and deep basslines from Nina, enhanced by guitar and keyboard from Sofie and Victor. The result is an explosive “wall of sound” filled with post-punk, grunge, and noise, where the beauty and chaos of modern existence resonate. Despite a dark tone, they transform postmodern frustrations into moments of hope and reflection. Known for their intense live shows, Marathon has performed at festivals such as Best Kept Secret and Reeperbahn Festival. They have caught the attention of both national and international media, including 3voor12 and de Volkskrant. Their debut album, Fading Image, will be released in spring 2025, exploring themes of transience and resilience and unveiling a world where hope and despair meet. Recognized as an “artist to watch” by 3voor12, KINK, and de Volkskrant, Marathon is ready to continue their exploration of sound—a mysterious adventure calling to those willing to listen closely.

Marathon is an Amsterdam-based band rooted in the intensity of the underground scene and the post-punk revival. With a blend of punk, shoegaze, and indie, they create a sound where emotion and raw energy converge. Founded ten years ago, the band found its unique identity after finding its way through the vibrant Amsterdam music scene. Marathon’s music captures the anxieties of the 21st century with powerful drum lines by Lennart, gritty vocals by Kay, and deep basslines from Nina, enhanced by guitar and keyboard from Sofie and Victor. The result is an explosive “wall of sound” filled with post-punk, grunge, and noise, where the beauty and chaos of modern existence resonate. Despite a dark tone, they transform postmodern frustrations into moments of hope and reflection. Known for their intense live shows, Marathon has performed at festivals such as Best Kept Secret and Reeperbahn Festival. They have caught the attention of both national and international media, including 3voor12 and de Volkskrant. Their debut album, Fading Image, will be released in spring 2025, exploring themes of transience and resilience and unveiling a world where hope and despair meet. Recognized as an “artist to watch” by 3voor12, KINK, and de Volkskrant, Marathon is ready to continue their exploration of sound—a mysterious adventure calling to those willing to listen closely.

The first re-pressing of the Dead Milkmen's classic "Bucky Fellini" since its original release on Enigma Records in 1987. This album is a fan favorite and contains the Billboard charting "Instant Club Hit (You'll Dance to Anything)". Remastered by Phil Nicolo for contemporary vinyl, pressed in DUCKY YELLOW VINYL. The newly designed gatefold includes the original front and back covers on a beautifully produced tip-on jacket. The interior is filled with news clippings, previously unseen photographs, show posters, and QR Code WAV and MP3 downloads--all collaged together by the one and only Dean Clean. Also included, for the first time, is an inner-sleeve with lyrics and all new song-inspired art from Joe Jack Talcum. Additional bonus materials include a reproduction of a beat up, original Bucky Fellini poster and a link to download the elusive "Boner Beat" remixes. Hear what The Toronto Star deemed "a sarcastic masterpiece that takes the mickey out of a dozen cherished American icons" like never before. The Dead Milkmen aren't as stupid as they'd like to be ... Now they sound as if they might know how to play their guitars, and they produce some on-target commentary such as 'Instant Club Hit (You'll Dance to Anything)'. - eople Magazine As with all Giving Groove releases all label profits are directly donated to a 501(c)3 music-related charity-the recipient being the wonderful Philadelphia based organization Rock to the Future.

Guilherme Granado makes his first solo appearance on the Keroxen label under the guise of his Goat Unity project, the result of a plethora of collaborations with musician friends and foes.

A São Paulo native, Guilherme has been quietly building a reputation for being the go-to guy for loop based beats and groovy basslines. He has played and recorded with Mauricio Takara in Hurtmold (4 albums) and he’s also part of São Paulo Underground (also with Takara and Rob Mazurek). He also performs, produces, and records under the name Bodes & Elefantes and has toured extensively through South America, US and Europe with São Paulo Underground, Prefuse 73 et al. With Ghost Parades Guilherme goes deep into his beat based deviations whilst somehow managing to connect the dots between the Wu-Tang Clan and the Sun Ra Arkestra, adding an healthy dose of tropicalismo for good measure.

Guilherme’s Ghost Parades does an impeccable job at showcasing the multi instrumentalist composition skills filled with dubby rhythms, addictive bass lines along with celestial and hazy chants. Its a smooth journey to take here, avoiding all the obvious pit holes of the genre and keeping the listener guessing where we’re going at every turn. A spacious, open ended listening experience where loops effortlessly intertwine with live jam instrumentation.

Organic, natural beats for atypical people.

Enigmatic producer ANiML returns to the freeform Los Angeles-based label StrataSonic to release a six-track mini album, Star Walk. The new body of work, which comes alongside a new music video for “Bruv” (directed by Spanish visual artist YZA Voku), is out now.

Picking up where ANiML left off with “Breather” and “Bruv,” Star Walk elaborates further on that woozy-yet-sophisticated psychedelia, materializing as cinematic trip-hop, cavernous dub, and other unique genre concoctions across its six tracks. “Cherry,” with its free-spirited, delay-soaked guitar riffs, depicts a colorful, post-rock-inspired soundscape. “BabyD,” in step with “Bruv,” features a mischievous marimba melody among ghostly vocal samples, a punchy drumkit, and a slackened bassline.

These scenes are brought to life thanks to YZA Voku, a groundbreaking visual artist who is at the forefront of AI-assisted filmmaking in the animation space (see his work for The Weeknd, Swedish House Mafia, Hï Ibiza, and XG). The new music video for “Bruv,” out today, unfolds in stark black, white, and red, evoking a noir-inspired aesthetic steeped in mystery and intrigue. Shadowy figures move rhythmically through dimly lit alleys and smoke-filled ballrooms, blending calculated steps with hypnotic dance sequences.

The production blended real-life recordings with digital effects like blur, negatives, masks, analog textures, and AI-driven transformations using Runway’s video-to-video tools. AI-generated sequences created with Midjourney and Runway were merged to contrast real footage with synthetic imagery. This type of work is a rejection that AI is simply used as a shortcut in art and comes at a time when musicians are beginning to embrace such tools for the visual components of their products.

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007. The New York Times called it "irresistible" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms. It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.

The first release from a brand new electronic dance label from Richard Norris (The Grid/Beyond The Wizards Sleeve), 'Let Yourself Go' is a sparse, powerful floor filler with Una Camille's anthemic vocal and more hooks than Jaws. Acid and electro remxes come courtesy of Norris and Leo Zero.

1st@Vinyl

We are overjoyed to present you the first Klangtrauma Records Vinyl.
Our label bosses Nadine Fehn and Duniz have teamed up for this one.
Nadine starts with "I feel you", a clear and massive dancefloor filler!
The remix comes from Audio State - so it's clear that it's going to be an absolute banger!
Duniz kicks things off with it's counterpart "Fühl ma", a seadily rising track that enriches any set and delivers a minimal, hypnotic journey with "Snail".

So keep an eye out for our next vinyl release.

Each of the ten tracks on "mixtape suite" is likely to evoke such absurd associations in music lovers. The album authentically and unpredictably creates a feeling of total boundlessness with a global approach. Effortlessly uniting an entire record shop within itself. One time you think of Madlib or the Bee Gees, then of Joan Baez or Amon Düül, other times of Beck or Gorillaz. Between boom bap and Krautrock, disco styles, folk references and trip-hop vibes spread out organically. Analogue percussion blurs with 90s sampling sound aesthetics.
TIKHET sounds unplanned and anarchic, with a raw core and some well rounded patina on the outside.
1883 Magazin: "Keep an eye on this emerging act"

Mesmerized: "the project has all the elements needed for a powerful musical output..., an impressive debut for the visionary pair"
Indieshake: "Fucking love this"

The iconic DJ Sotofett comes with a real treat--a 12-track album on Clone West Coast Series that showcases a playful take on electronic music. Immerse yourself in the vibrant world of DJ Sotofett & The Colours of Computer Generated Instruments. With 12 electrifying electro tracks that blend a wide spectrum of rhythms with 80's Nintendo console vibes and holy grail analog vs digital synthesis, this album is a jubilant celebration of that sound. Prepare for an exhilarating journey filled with surprises, seamlessly transitioning from acid infected vibes and catchy electronic pop to groundbreaking avant-garde electro cuts. Each track intricately weaves together influences from over 40 years of electronic dance music, inviting listeners to explore the rich tapestry of genres that have shaped the landscape. As you delve deeper, you'll uncover the intricate layers and innovative production techniques that define Sotofett's distinctive style, transforming this album into more than just a collection of tracks -- it's a true sonic adventure that beckons you to listen, dance and dream.

"Volcanic Tongue" war ein Plattenladen, der von 2005-2015 in Glasgow von David Keenan und Heather Leigh betrieben wurde und zeitgenössische DIY-Musik aus der ganzen Welt in kleinen selbstgemachten CD-R-Auflagen veröffentliche. Parallel versuchte man, vergessene Künstler aus der Vergangenheit ins Rampenlicht zu rücken, die ihre Musik oft als Privatpressung veröffentlicht hatten. Der Laden war für seine wöchentliche Mailingliste bekannt, in der Keenan enthusiastisch über Neuankömmlinge rappte, insbesondere über die Platte der Woche, die den Spitznamen "tip of the tongue" (Zungenspitze) erhielt. Dieser eklektische Sampler mit 20 "tips of the tongue" - von Outsider-Synth über Psych-Folk bis zu kaputtem Rock'n'Roll, aufgenommen zwischen 1968-2013 - ist eine Hommage an eine lebendige und vielseitige Underground-Avantgarde. Black Vinyl 2LP in PVC-Hülle, von Julian House designt, mit bedruckten Innentaschen samt Linernotes von David Keenan zu jedem Künstler.

PS: Gleichzeitig erscheint beim White Rabbit-Verlag eine Deluxe-Ausgabe des gleichnamigen Buches mit einer CD-Version des Samplers, limitiert auf 1.000 Exemplare, und signiert von Autor David Keenan und Designer Julian House.

If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail.

Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects — separation, definition, impact, tonal balance — are also here in spades.

Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy — and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence.

Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored — as well as the situations in which they found themselves — drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.

Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy,” a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism — and which gets an assist from Buckingham’s shaded tack piano and richly strummed guitar chords.

Its ranking as an all-time classic aside, that No. 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright.” Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural — cards, dreams, wolves, and the like — on the twirling “Straight Back.”

Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie — and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back,” a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane,” out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State,” a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night.

Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.

“I wish you were here/Holding me tight,” McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.

Transport yourself to the vibrant streets of Havana with the Buena Vista Social Club's eponymous album, a captivating journey into the heart of Cuban music! Recorded in 1996 by acclaimed producer Ry Cooder, this timeless masterpiece celebrates the rich tapestry of Afro-Cuban rhythms and soulful melodies that have enchanted audiences for generations.

Buena Vista Social Club is both the name given to this extraordinary group of musicians and the album, recorded in just seven days in 1996 in Havana's 1950s vintage EGREM studios. From the infectious energy of "Chan Chan" to the heartfelt nostalgia of "Dos Gardenias," each track immerses listeners in the intoxicating blend of son, bolero, and guajira styles. Led by legendary musicians such as Ibrahim Ferrer, Compay Segundo, and Omara Portuondo, the Buena Vista Social Club ensemble delivers performances that are as exuberant as they are intimate, capturing the essence of a bygone era while igniting a passion for Cuban music that knows no bounds.

The acclaim of the original album has elevated the artists (including Ibrahim Ferrer, Rubén González and Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, and has contributed to popularizing Cuba's rich musical heritage. Produced by Ry Cooder for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this will go down as one of the landmark recordings of the 20th century.

This 45 RPM Analogue Productions reissue pressed by Quality Record Pressings on four dead-silent LPs makes every note a transcendent experience. Meticulously crafted using the finest materials and exacting standards, this reissue pays homage to the golden age of vinyl, capturing the warmth and depth of the original recording in stunning detail. The package includes a 12-page booklet with lyrics and stunning studio images, topped off by a tip-on old style gatefold double pocket jacket made by Stoughton Printing.

Embark on a musical odyssey filled with warmth, joy, and the irresistible allure of Havana nights!

'It begins with a shoebox of mysterious provenance, full of recordings from the Vendée department on France’s western seaboard: songs of love and war, life and death, played out on land and sea. Songs passed down and sung by ordinary men and women, gracefully delivered with the poetic economy which unites the folk song of all peoples.

Next it takes a group of contemporary musicians to make selections from this treasure trove and sing these old songs anew; to sing them for their beauty, of course, and to reclaim the people’s tradition from those who would seek to exploit it for nefarious political ends. Who better for this task than Tartine de Clous, a singing trio from Vendée’s neighbouring department of Charente-Maritime, who burst into national and international consciousness with their debut album "Sans Folklore" in 2015? The result of their shoebox rummagings, the new album "Compter les dents", recorded in 2019 and finally seeing the light of day, is bound to delight old fans and win them many new ones.

Time makes many’s the alteration, and "Compter les dents" finds 'les garçons' - Geoffroy Dudouit, Thomas Georget and Guillaume Maupin - in a different state of being from their debut release. The trio, friends since youth, have certainly matured between albums, as one would expect; consequently the newer performances are more considered and poised, unfolding with a patient confidence. A relaxed domesticity prevails, something to do with the fact that the album was entirely recorded chez les amis, in contrast to the first album, which was mostly recorded at live performances in bars and night-spots across France.

Lending gravitas to the grain of their voices we mark a deepened richness, doubtless born of the various vicissitudes of daily existence which these gentlemen - and we too as citizens of this turmoiled globe - have weathered in the intervening years. Not too dissimilar, in fact,
from some of the vicissitudes detailed in those old Vendée songs. Plus 'ça change', right?

There’s a greater complexity and subtlety to their unique three-part harmonising, too. Their voices mesh in even stronger - almost telepathic - 'fraternité' than ever before: now commanding and mighty as a full-rigged counter-vessel, now gentle and lulling as a mother’s
cradle-croon, or as the whisper in a lover’s ear.

Three legendary figures of French traditional music, now sadly departed, preside as tutelary spirits over Compter les dents. They are: the late Claude Flagel, musician and ethnomusicologist; and the late Jean-Loup Baly of the well-known 1970s band Mélusine. Most of the album was recorded by Claude in the Brussels home he shared with his late wife Lou Flagel. The album is dedicated to the memory of Jean-Loup, Claude and Lou.

For the first time there are several guest instrumentalists working their magic to expand the Tartine de Clous sound. Jean-Loup plays a characterful accordéon on the song ‘La Veuve'. The other guests are: Maurice Artus (voice), Robert Thébaut (violin), Quentin Manfroy (piccolo, contrabassoon), Marceau Portron (cigar box guitar). Their contributions add even more conviviality to that which the trio of singers already share, a sensation which will doubtless be shared by those who happen to find a place in their lives for "Compter les dents".'

Liner notes by Alasdair Roberts.

The Spring is quickly approaching, and the R&C boys are always ready for it, back in the game with a new chapter of their magical reworks.

“Stars” is a new tailored-shape of the very successful Italian song ‘Figli Delle Stelle’, now revisited with a groovy electro funk mood - dancefloor oriented.

On the flip, “Brillantina” brings back to those magical times of a classical musical anthem, re-imagined into a slow-funk cut, filled with solid spacey & balearic synths.

Stardust !

Transport yourself to the enchanting Brazilian seaside with our latest release, BOSSA LOFI COMPILATION! Each track in this collection embodies the spirit of summer, immersing you in the rhythmic sway of sambas and the soulful strumming of guitars. Picture yourself at a lively beach party, dancing beneath the stars, or relaxing with friends on sun-kissed sands, savoring each moment. This compilation promises a perfect soundtrack for unforgettable experiences, filled with warmth, joy, and the timeless charm of Brazil's musical landscape.

Nachdem sie letztes Jahr die französischen Charts im Sturm erobert hat, ihr Debütalbum das meistverkaufte Jazz/World-Album des Jahres in Frankreich war und sie in mehreren Ländern wie Japan, Deutschland, Kanada und den USA, faszinierende Live-Auftritte hatte, meldet sich Gabi Hartmann nun mit ihrem neuen Album 'La femme aux yeux de sel' zurück. Auf den 13 Liedern, die größtenteils auf Englisch und Französisch gesungen werden, bewegt sie sich erneut zwischen verschiedensten Stilen und vermischt Jazz, Pop, Folk und Soul. Die Titel, manche melancholisch, manche farbenfroh und manche voller rhythmischer Energie kreieren eine ganz eigene Welt, in der man aber auch immer wieder die großen Vorbilder Mercedes Sosa oder Miriam Makeba entdecken kann. So hat Gabi Hartmann mit ihrem warmen, klaren Timbre ein sehr persönliches und facettenreiches Album geschaffen, das Grenzen und Stile vermischt und in Gabi Hartmanns eigene Traumwelt entführt.

Their tenth studio album, Bird in Paradise, is set to be released next March 7, 2025 via BMG Australia and includes recent dance-floor filler ‘La Gracia’. "When we set out to make the album Bird in Paradise, we wanted to make a more musically rich album than we had before, which featured the band instrumentally like never before." - Ollie “Musically speaking, Bird in Paradise is an Australian - Flamenco, Afro-Cuban project. We've drawn from the themes of contemporary flamenco and Cuban music, and combined it with the grit, and toughness of Aussie rock history." – Felix. Available on: 1CDSoft Pack packaging. No Booklet. Standard Disc Artwork or 1LP Standard Sleeve. Inner Sleeve Component. Blue Wren Colour (Opaque). No booklet.

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

15 years after it's original release, Freestyle Records serve up reissue for The Apples' Kings LP - fully remastered with a fresh new cut, it's sounding better than ever!

In a musical first for the band, they wrote, arranged and recorded Kings with specific collaborators in mind. They held sessions with two of their heroes; a congregation with two musical and spiritual father figures from opposite ends of The Apples rich spectrum: Fred Wesley (pioneer of funk trombone in particular and funk horn arranging in general with James Brown, The JBs) Shlomo Bar (vocalist, percussionist, godfather of Israeli world music).

The exciting process of these recordings exposed the band's many roots and influences; elements of The JB's funky foundations, cut 'n paste, soul, middle eastern and dub are all clearly displayed - strained through the band's unique decks-horns-sfx-bass-drums lineup. This release signified the next step in The Apples ever thickening groove stew, primed for festival and club stages with a relentless live set filled with runaway grooves, countless twists and turns, dizzying transitions, spontaneous arrangements, the occasional reworking of early 90's alt-rock fist shakers - plus the basic jump-up-and-down crazyness for which The Apples are known across dancefloors, soundsystems, playlists, films, televisions, cars and ears worldwide.



e B1 | Batash (Alwoojdi) feat Shlomo Bar

The Vogue Years Vol. 1 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Souvenirs, Souvenirs" and more.

This version of The Vogue Years Vol. 1 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

The Vogue Years Vol. 1 by Johnny Hallyday, released 21 February 2025, includes the following tracks: "Souvenirs, Souvenirs" and more.

This version of The Vogue Years Vol. 1 comes as a 1xLP.

The vinyl is pressed as a picture disc disc.

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

Baby Rose makes healing music for the aimless and heartbroken. The Grammy-nominated singer/songwriter and producer's uniquely rich voice naturally lends itself to her powerful, smoke-filled ballads lamenting lost loves and broken futures. "I make music to help myself get through things," she says. The piercing honesty and vulnerability she brings to her lyrics in turn helps others process their feelings and find a place of healing. For Rose, it's a journey that's still ongoing. "If I'm going to leave anything behind, it's going to be getting people back to themselves," she says. "As I get back to myself, it's a constant reset: Remember who you are, remember who you want to be." You can hear the impact of this approach in Baby Rose's upcoming second album, Through and Through. Take the hypnotic "Fight Club." Over the track's simmering baseline and crashing cymbals, she declares, "I don't need no one else to show me the way." She describes the song as a "breaking of the shell. It encourages me to just go for it and not care about what anyone else thinks." Therein lies Baby Rose's strength: a determination to live, love, and create on her own terms. "I'm not just a singer with a unique voice," she says. "I'm somebody that has something to say." In the years since releasing her last album, To Myself, Rose has been painstakingly piecing together its sequel. Started almost immediately after its release, her new body of work finds her in a state of musical and personal transition. It's a subtle merging of new sounds_stirring rock, upbeat r&b, psychedelic funk, pop, and soulful ballads_, all mastered through analog tape to make the music feel warmer and all-encompassing. It's also a journey inward as she battles past fear and self-doubt to finally discover_and love_who she is, where she is. Finishing an album with such peace and firm resolution is a first for Rose, but she makes it clear: She's nowhere near done writing her story. "I think as long as I'm being raw and trying to push past my comfort zone, it will feel rewarding," she says. "I don't want to be the type that doesn't take risks because I'm afraid. I have to trust that as long as the music is honest and innovative, it'll be timeless."

Rognvald, aka Richard Wilson, returns at full throttle with part 2 of 'The New Selecta'. Rognvald's unique future-old skool sound continues to evolve in this release, the third 12" in his WIFE series. You will travel into unknown subterranean territory with 'The New Selecta', exploring the limits of break choppage and granular sound design on a loved and familiar soundscape, as well as 2 dread filled cuts of swampy ambient reductions.

Using a minimal sound palette to maximal effect, Rognvald deconstructs and abstracts the tropes of old skool jungle. Blending blunted breaks with burrowing subatomic sinewaves, euphoric rave vocals lead to a nuclear ruffneck ecstacy.

Carrying the torch of psychedelic cumbia, with a healthy dose
of surf guitar and Amazonian dancefloor flourishes from Peru
and Brazil alike, Fiesta en la Jungla by Los Dexter’s de Uchiza
is the first release from the newly formed London-label Ritmo
del Barrio. Originally released in 1982, it captures the finest
cumbia being made in Peru at the time, decked out with
frenetic surf-rock guitar riffs, rhythms floating on crisp
cumbia percussion and occasionally punctuated by carimbó
breakdowns native to the Pará region of north-eastern Brazil.
The album is filled with energy, a gem that was always
intended to animate any dancefloor. Peruvian cumbia came to national attention in the late 60s
through the recordings of Juaneco y su Combo, Los Destellos
and Los Wembler’s de Iquitos, but it’s had many revivals, and
Fiesta en la Jungla arrived when the style was going through a
major transition. In 1977, a passenger plane carrying most of
the members of Juaneco y su Combo crashed, killing everyone
on board. In 1980, Los Destellos retired, and Los Wembler’s
released their tenth and final record, they were ready for a
break. This left a big void in Peruvian music. Wasting no time,
Los Dexter’s Emerson Ruiz Mosquera took the opportunity and
gave his band new life, filling the band’s ranks with young and
energetic musicians who were hungry for success. He built the
new band around a solid base of dexterous guitars, a dynamite
rhythm section, and added oodles of percussion and an electric
organ, giving them a powerful psychedelic sound that called
back to the sounds of the original chichamasters, but added a
new sheen. Along with bands like Los Shapis and Los Walkers
de Huánuco, Peruvian cumbia was reborn as chicha in the
1980s, and was now the sound of Peru’s barrios up and down
the country.
Based in the city of Uchiza, on the edges of the Amazon basin,
Los Dexter’s were uniquely located in central Peru, closer to the
largest urban centres of the country than Amazonian outposts
like Pucallpa or Iquitos, and therefore better positioned to
travel to the furthest reaches of the country with ease. In a
sense, Los Dexter’s were a bridge between the Amazon and the
rest of Peru, a bridge over which the sounds of Amazonian
cumbia could travel to the rest of the country on their way to
becoming one of the most ubiquitous elements of Peru’s musical
identity. Fiesta en la Jungla represents Los Dexter’s in their third
iteration. Led by Emerson Ruiz Mosquera, who was just a
young boy in 1970 when his older brother founded the group
with four of his friends, the ensemble by the time of Fiesta en la
Jungla included Orlando Abad on the timbales and lead vocals,
Lucho Bendezú on lead guitar, Javier Quiroz as second
guitarist, Alejandro Almeira on bass, Rufino Bustamante on
keyboard, Ramon Siu on bongos and bells, Ivan Rios on conga,
and Emerson as musical director and composer. Remarkably,
most of the group’s members helped to write at least one
track, Los Dexter’s were a collective endeavour.
Reissued on vinyl for the first time by Ritmo del Barrio, this
record is essential for any collector of Peruvian cumbia.
Showcasing the unique sound of Los Dexter’s, it carries hits
like “Fuga en la Selva” and “El Shiringuero”, which are sure to
set any dancefloor on fire, combined with slower, carimbó-
infused cumbias like “Fiesta en la Jungla,”and “Agua de
Cachilde.” Its closing track, “Tragedia en Uchiza'', is a key
piece of local history and tells of the flooding of the
Chontayacu River in 1982, a mortal tragedy that affected
thousands of people. Despite the subject matter, the album
maintains a joyful vibe throughout, with high energy riffs and
irresistible rhythms, contrasted with terse love ballads, like “A
Jhenny.” It is both a piece of musical history, and a sure-fire
tool for the dance floor.
Los Dexter’s became a fixture of festivals and celebrations in
the provinces of San Martin and Huánuco, and from expanded
across the country, taking Amazonian cumbia from the
Peruvian Amazon, to the heights of the Peruvian sierra, the
coastal plains, and the capital city of Lima.

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

Le Mot De Passe is the fifth studio album by the successful French singer Patricia Kaas, released in 1999. Following the success of Dans Ma Chair, this album was once again a huge success throughout Europe. The album went platinum in France and gold in Belgium. The album was made with the help of French singer-songwriter Pascal Obispo. The album is accompanied by an orchestra, giving it a great sound experience. The singles Ma Liberté Contre La Tienne and Une Femme Comme Une Autre became some of her biggest hits. La Mot De Passe is a limited edition of 1000 numbered copies on translucent yellow vinyl.

With four full length albums and an ep under their belt, CHEMICIDE have become one of the biggest neck breaking thrash metal acts in Latin America selling over 10K+ albums worldwide and have continued to tour around the globe in DIY mode that has helped them grow steadily in the metal community. The band has been on multiple extensive tours around South, Central, North America & Europe, playing with great bands like Toxic Holocaust, Cattle Decapitation, Municipal Waste, Angelus Apatrida, Helloween, Destruction etc… and have been featured in Metal Hammer UK’s top 10 thrash albums of 2022 alongside Megadeth, Kreator & Destruction; it helped the band connect with a bigger audience worldwide and led the band to several European and American festivals, like Pitfest (NL) Into the Grave (NL) In Flammen (DE) and MetalDays (SL), Rock al Parque (CO) and México Metal Fest (MX). CHEMICIDE band leader Frankie comments about their new album 'Violence Prevails' : « Violence Prevails is a reflection of our daily life. America is a beautiful continent but filled with corruption; more specifically Central and South America. I wanted to portray how there's no more dialogue; everything is resolved with violence and unfortunately for us, we see a lot of poverty and class disparities among our people. I also wanted to tell a story that could resonate with more individuals across the planet and see that they are not alone when they see what's happening around them. Violence now is the key to sort out any discrepancies you may have with someone else and we see it on a daily basis with international conflicts around the globe. Production wise We wanted a late 80's-early 90's approach to the sound of this album. Big drums, heavy bass and sharp guitar riffs, all of this mixed with a lot of reverb and a very raw, 'butchery' approach to the sound. Martín Furia (of Bark and Destruction fame who mixed and mastered the album) understood this perfectly and he helped us shape the sound of this album. He took Black Sabbath's "Dehumanizer" as an inspiration for the drum sound and we tried to start from scratch on the guitar, bass and vocal sound.» CHEMICIDE have been perfecting their bombastic frenetic riffwork and drumming savagery during the course of their past four albums, now resulting in their strongest and most punishing new album 'Violence Prevails' .

"Las últimas composiciones de Violeta Parra" as originally released in 1966, with remastered sound from the original tapes artwork. This is the best Chilean album of all time according to Rolling Stone magazine. It contains the latest compositions by Violeta Parra, including her global hit 'Gracias a la vida'. It was recorded for RCA Víctor at the end of 1966, despite the artist had signed a deal with EMI Odeon and released her previous albums on this label. After spending some time in Europe, Violeta Parra was back in Chile and wanted to record her most recent songs, filled with lyrics inspired by personal life's disappointments and social topics. The album contains great songs such as 'Run Run se fue pa'l Norte', 'Maldigo del alto cielo', 'Rin del angelito' and the global hit 'Gracias a la vida'. This is the very last album released while Violeta Parra was still alive as she would kill herself only four months later, in February 1967. In 1974 a new version of the album was released featuring string arrangements by Chilean composer Nino García and new artwork, a full-color illustration based on the black and white photo of the original album cover. This became the most popular version of the album available in decades. The ownership of the original master tapes has been the subject of judicial disputes since the late 1990s and until very recent times, which explains the difficulty in having access to the original work, as originally conceived, throughout this period.

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

Fresh from a Sold out Uk tour at end of 2024 'Ludovico Einaudi, returns with a brand new album ‘The Summer Portraits’. Inspired by the reminiscence of childhood summers filled with freedom and experiences, this nostalgic album is presented on eco-friendly FSC certified materials. “To our summers…endless memories” This nostalgic album is presented on eco-friendly FSC-certified materials and 100% recycled black vinyl to reduce carbon emissions by 90%.

Escola Records is proud to present its third offering, this time from Pau Roca, one of the local representatives of the house sound in Barcelona with the greatest projection in the scene. He releases 'Your Energy' featuring the incomparable vocal talents of Laura Elle to bring the warmest vibrations as only she can. A phenomenal soulful house track cut filled with warm chords and dusty percussions that fuses Latin rhythms with classic house music. The release comes with the unmistakable sonic signature of the legend from Detroit, Alton Miller, and the collaboration between two of Barcelona's most intriguing and brilliant producers, Less J and Karmasound.

UU010. THE LONG-AWAITED 10TH RELEASE ON UNKNOWN-UNTITLED RECORDS.

6 TRACKS. 6 NEW ANONYMOUS ARTISTS. ALL KILLER. NO FILLER.

UNKNOWN - UNTITLED 2.0. STARTS NOW

Canada’s answer to Metallica? The Eddie Van Halen of thrash metal? Both these terms could have easily applied to Annihilator and its mastermind, lead guitarist and songwriter Jeff Waters. A fan of both speed metal and classic rock, the Canadian emphasized a flair for both. The fresh invention of Waters’ guitar work was a major reason why Annihilator got off to a promising start and have survived to the present, with a dozen or more albums under their belts.

THE BEST OF ANNIHILATOR compiles cuts from the band’s first three studio albums, a rarities collection, and a live disc, all of which emerged on Roadrunner between 1989 and 1996.

There have been many records in the years since, as Annihilator has continued to be one of the few bands to fly the flag for the classic thrash metal sound, earning themselves a devoted following and a regular spot on the European concert and festival circuit. THE BEST OF ANNIHILATOR takes the listener back to the early days of that sound, which stands up to anything else of it’s time - and even most metal today.

Two albums filled with the best that this band has to offer and for the first time available on vinyl.
Best Of Annihilator is available as limited numbered edition of 1500 copies on silver coloured vinyl

Montreal-based rock band Le Nombre, active from 2002 to 2009, released three albums filled with raw poetry and relentless riffs and rhythms. Scénario Catastrophe was produced by Ian Blurton (Tricky Woo, The Weakerthans) and recorded in Toronto. Released in 2004, it marked the band’s peak both musically and lyrically. This record enabled them to tour Europe, the United States, and Canada, where they opened for The New York Dolls at Festival d’été de Québec. Praised by the press both here and abroad, the album, now offered with a remastered sound, will be available on vinyl for the first time in February 2025, twenty years after its original release.

Montreal-based rock band Le Nombre, active from 2002 to 2009, released three albums filled with raw poetry and relentless riffs and rhythms. Scénario Catastrophe was produced by Ian Blurton (Tricky Woo, The Weakerthans) and recorded in Toronto. Released in 2004, it marked the band’s peak both musically and lyrically. This record enabled them to tour Europe, the United States, and Canada, where they opened for The New York Dolls at Festival d’été de Québec. Praised by the press both here and abroad, the album, now offered with a remastered sound, will be available on vinyl for the first time in February 2025, twenty years after its original release.

Red Marbled Vinyl. Play Dirty is the fourth studio album by British heavy metal band Girlschool released in 1983 and produced by Noddy Holder and Jim Lea from the hard rock band Slade. It has very polished sound, filled with keyboards, choruses andmelodies, containing covers of the Slade songs ,High & Dry" and ,Burning in the Heat" and of T.Rex's ,20th Century Boy". Drummer Denise Dufort rated the album as her favourite of all the band`s career saying it had a more mature sound to it and comparing it to Def Leppard. Girlschool are thelongest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining or supporting important heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Red Vinyl. Play Dirty is the fourth studio album by British heavy metal band Girlschool released in 1983 and produced by Noddy Holder and Jim Lea from the hard rock band Slade. It has very polished sound, filled with keyboards, choruses andmelodies, containing covers of the Slade songs ,High & Dry" and ,Burning in the Heat" and of T.Rex's ,20th Century Boy". Drummer Denise Dufort rated the album as her favourite of all the band`s career saying it had a more mature sound to it and comparing it to Def Leppard. Girlschool are thelongest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining or supporting important heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

After two pandemically conditioned ‘reaction’ albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper... Since the traditional 3 or 4 piece rock band seems to be a dying breed these days, and MP always was a band in flux anyway, a new pragmatic era has begun in the Psychoverse. The band has, in what one might call alchemical terms, been ‘dissolved and purified’, and is by now again reduced to the core two founding members HMR & BS. This is nothing new, it has happened a few times before, but these days they are also the owners and creators of the record company NFGS, which is now the hub of all recorded band activity, and Motorpsycho marks the final severance of existing ties to other labels for the first time in 35 years. If ‘freedom is free of the need to be free’, this is it. Yikes! The minimalist title of the album is then not just easy to remember, it’s also a statement: a new era has begun in the Psychoverse, a state of affairs reflected in execution and details as well as title, if not perhaps, in ambition or size: “Senex psittacus negligit ferulam” *. This is a time of new beginnings for a band that has spent two years consolidating and reseting before charging ahead anew on a new path, trumpets blaring (...and trumpets don’t come much more blaring in the Psychoverse than with this grandiloquent hyperbole. Good fun! ). New day rising indeed. The core band was adroitly helped by a gaggle of greats from all over the Scandinavian musical landscape on these recordings: drummers Ingvald Vassbø and Olaf Olsen, string arranger/violinist Mari Persen, vocalist Thea Grant, and - as usual - honorary psycho, brother Reine Fiske, were all fellow travellers on this musical journey. Motorpsycho was co-produced by the band and Deathprod, and mixed by Andrew Scheps. Motorpsycho are not the best at what they do, they’re the only ones that do what they do. NFGS2025 *: “Senex psittacus negligit ferulam,” or “An old parrot doesn’t mind the stick.”

There are very special records that achieve mythical status amongst collectors and vinyl diggers. THE SHARPEES GO ON AND LAUGH is top of that tree.

Welcome to the strange world of Nothern Soul…

The story began some years ago when legendary UK record dealer John Anderson discovered an acetate in Chicago with the record title GO ON AND LAUGH scrawled on it but no artist name.

He sold it to cutting edge Northern Soul DJ John Vincent who credited the track to THE JUST BROTHERS when playing out.

The acetate, by now popular amongst the Rare Soul cognoscenti, was traded back to John Anderson who passed it on to Mark Dobson, aka Butch. His DJ sets around the World made it an in-demand dance floor filler and a subject for many years of much conjecture as to the ID of the mystery artist who had recorded this masterpiece which was not just a one-off uber rarity but also the epitome of Nu-Northern Soul cool.

Fast forward to 2016 when USA record label Secret Stash gained access to 200 plus master tapes recorded in the 1960’s by the Windy City’s ONE-DER-FUL set up.

They were forwarded to UK Soul entrepreneur Mark Bicknell who to his amazement found GO ON AND LAUGH in the haul. And finally the whodunit mystery was over with the artist identified as THE SHARPEES, who far from being obscure unknowns aee fondly well known in Soul circles for their much loved DO THE 45 and TIRED OF BEING LONELY singles. Secret Stash promptly issued GO ON AND LAUGH in America but demand far outstripped simply and it quickly sold out with copies now fetching northwards of £150.

ANORAX - living up to its #eatsleepcollect mantra - have snapped up the rights and are delighted to issue it as a 500 run limited edition 7”.

GO ON AND LAUGH is coupled with the timeless classic TIRED OF BEING LONELY. It follows the release by ANORAX of gems from DRIZABONE, JAY. J Feat. BIG BROOKLYN RED and DON CARLOS

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

As the first decade of the 21st century came to a close, a new generation of hip-hop artists began to emerge, leveraging the power of digital mixtapes to capture the attention of listeners around the globe. With deceptively intricate flows bringing smoke-filled visions to life, two of the leading lights in this rap renaissance were Smoke DZA and Curren$y. These talented artists both released breakthrough projects in 2009 before ascending to even greater heights, including Billboard-charting albums, high-profile collaborations, extensive touring, and joint projects alongside Wiz Khalifa, The Alchemist, Pete Rock, Big K.R.I.T., Freddie Gibbs, Benny The Butcher, Styles P, Harry Fraud, and more. In 2019, Smoke DZA and Curren$y finally linked for a full-length release, entitled Prestige Worldwide. The two longtime collaborators bring out the best in each other on the acclaimed collection, with inspired rhymes and trunk-ratting beats reverberating from Harlem to New Orleans. Featuring appearances by Styles P and Dave East, Prestige Worldwide is now receiving a new vinyl release via GoodTalk and Nature Sounds after years out of print.

Ras Tuffy Irie, known on the roots circuit for tracks such as 'Hail Rastafari' and 'Chucky', collaborates with Mali Blakamix and steps forward with this scorcher of a single 'Hear The Warning'. Side A features Ras Tuffy Irie sings, calling for the heads of state to hear the warning. On the B side Mali Blakamix delivers a sublime dub mix filled with delays, phasers and airy reverbs.

Those that have enjoyed both Ras Tuffy Irie's and Mali's previous releases are sure to enjoy this collaboration. Guaranteed to get you moving and skanking.

New Omar S alert! The FXHE label boss wastes no time in dropping heat this New Year as he once again hooks up with vocalist Desire for this latest house gem. Up first is 'Something Real', in the classic Omar S mould of laying down a deep, heartfelt drum line and then topping it with a mad emotive vocal hook that is filled with r&b goodness and joined by the most subtle cosmic chord motifs. 'Hard Leaf Rag' follows next, so raw it will make your ears tickle with its busted drums and serrated stabs. Then flip it over for 'Conant Leaf Rag', which pairs warbling synth sounds with dusty hi-hats and tight kicks for a nice, full mind and body workout.

Far Out Recordings proudly presents Argentinian guitarist Agustín Pereyra Lucena’s 1980 album La Rana. Recorded in Oslo, La Rana features Agustín’s stunning takes on compositions by Ivan Lins, Antonio Carlos Jobim and Agustín’s friend and musical hero Baden Powell. In addition to these, and a number of Agustín’s own compositions including the fifteen-minute masterpiece “Encuentro De Sombras”, the album’s title track is an idiosyncratic version of Joao Donato’s “A Rã” (Eng: The Frog/ Esp: La Rana) from his 1973 album Quem É Quem.

Forming the rest of the quartet are two fellow Argentinians who were also Agustin’s bandmates from the group Candeias: bassist and multi-instrumentalist Guillermo Reuter and flautist Ruben Izarrualde; with Norweigan drummer Finn Sletten on drums and percussion.

Throughout La Rana we hear not only Agustín’s fabled guitar playing, which ascended him to share stages with the likes of Vinicius de Moraes, Dorival Cayymi, Toquinho, Maria Bethania, Chico Buarque and Quarteto Em Cy, but also his talent as a vocalist. He also provided the heartening illustration for the cover art, which perfectly fits the cordial, inviting tone of the music. Inspired in equal measure by South American rhythms and Norweigan glaciers, mountains and waterfalls, La Rana is filled with the warmth, humility and sincerity of a man seizing a joyful moment in life through music.

Described by Rolling Stone magazine as “a glam rock triumph,” the multi-faceted rocker Gyasi (Jah-See) delivers his second studio album, “Here Comes The Good Part,” a glittery and fun universe filled with infectious hooks and searing guitar riffs, alongside songs of self-transformation. Teaming up with co-producer Bobby Holland, Gyasi expands his sound, exploring a wider palette of musical ideas. Mostly recorded with his touring band, it also features guest appearances by drummer Daru Jones. “Here Comes The Good Part” is a bold exploration of theatrical rock n’ roll, through the lens of a small-town West Virginia kid seeking self-discovery.

(repress on black vinyl, originally released in 2019) Supported by many deejays worldwide, most notably Solomun. Moodfamily's favourite four-piece returns home after many journeys. Impatient as we are, we had to hear their stories. Skilfully combining influences, sounds and experiences from east and west, they translated their stories into a new EP oozing with drama, melancholy and determination. The EP describes itself as the soundtrack for an adventure to mysterious outskirts around the globe, starting with 'Whale Parade'.



This prelude takes you to a hidden land after wandering through forests for many months. Guitar, piano and percussion gently move in and carry you away. By the second track, 'All Day I Zama', a slow beat dictated by a banket of percussion evolves to a vigorous and groovy track with moaning vocals as the main theme. In title track 'Gold Town' you will settle yourself in a covered wagon, heading for dodgy settlements on a misty mountain range, accompanied by a grieving trumpet. As the wagon slows to a crawl, 'Ghajar' emerges; a downtempo emotion-filled song, where the piano and a scorching synth interchange melodies and tales.

Magic Source is back with an exclusive 2 tracks single filled with their special rootsy cosmic funky touch.

Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up to the release of their 2nd LP last year, Voyage Spectral. This time again, the German band dives into the Tropical and international aspects of Disco and Funk music, always using 100% organic production and recordings material.

On this 2 tracks single, you’ll first find a blazing and unexpected covers of “Voodoo Ray” the classic acid-house track by A Guy Called Gerald, with special vocals by Mounam & Gizelle Smith. Following up to this already dancefloor classic, comes “Interplanetary Bounce”, a new and exclusive composition from the band also tailored to make you move, with its Boogie touch and heavy breaks.

As we journey Fred P continues to go further into his singular sonic landscape with long player Bliss Filled Passages. Depth and emotive intensity of Uplifted Vibes keeps the energy flowing with what has been a stable of Private Society vinyl arm, trippy fusionhouse. Rounding the proceedings with laid back roller Smooth and Real.

Another ace outing by the futurist Fred P.

This sense of speed, this sense of elation. The man who knows no end, Takeshi Inomata, breaks through the limits of groove with his ever-changing stick work.

Another masterpiece released by Takeshi Inomata, a great drummer who has always kept his eye on the times and opened up new horizons, during the golden age of jazz rock. It is a so-called instructional record produced as one of the "Method" series, but its musicality is fiercely funky and groovy, as if provoking the listener. Leading the famous group Sound Limited, which played a part in the development of jazz rock in Japan, he breaks through the limits of groove with his ever-changing stick work. From cover songs such as "Runaway Child" and "Smack Water Jack" to "Sleeper" and "Seven Four" composed by his close friend Norio Maeda, who also participated in the arrangement, and the overwhelmingly powerful drum solo ""Drum Concert"", the diverse selection is filled with a flawless, high-density groove.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet — and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz — the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180g 33RPM SuperVinyl LP.

Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.

By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.

A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough — the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.

GENE CHANDLER was born Eugene Dixon in Chicago 1937. He began to sing in a number of local groups and joined the Dukays who were signed by Carl Davis and Bill “Bunky” Shephard to their tiny Nat label where they recorded ‘Duke Of Earl’, co- written by Chandler. The song was assigned to the Vee-Jay label, for national distribution, and was released in 1961 attributed to Gene Chandler. It went to the top spot on both the pop and R&B charts selling a million copies and marking the start of Chandler’s solo career.

Chandler was at the centre of Chicago's thriving soul scene and when he joined Ewart Abner’s Constellation label in 1963 a string of hits followed breaking both the Billboard Hot 100 and the R&B Top 5.

This long-overdue collection brings together the cream of Chandlers Chicago recordings from the legendary Constellation label, featuring Chandler’s smooth, effortless, vocals, and Curtis Mayfield’s signature sound that filled the dance floors on both sides of the Atlantic.

First ever compilation of his finest Chicago recordings courtesy of the Constellation label Features ten chart hits including four Top 5 Billboard R&B smashes Grammy award winner

IGOR JADRANIN is back on STAR CREATURE with the "CONTEMPORARY OUTDOORS EP". 6 massive left leaning killer floor fillers. He delivers a perfect blend of boogie basslines on exoplanet hypothesis warp mode & vintage drum machines. Remixes by A VISION OF PANORAMA & BYRON THE AQUARIUS.

It's fair to say this label, this producer has had more than their fair share of hits over the years.
Hitting you straight in the heart (and hips) sometimes and occasionally (and that's all your own fault) going over-your-head.

Regardless.
Whether rummaging around the sonic fringes or incanting pure dancefloor moments like this, Bitter End always, always deliver.
Adjustment->Love is the best thing we've heard this year.
The rest of the EP 'filler' is also better than anything else you're likely to encounter on a 12" this side of 2025.
Don't be an idiot - while everyone else if toeing the line, try your best to colour outside of it.

Mr. K returns to the fertile ground of the Paradise Garage for his latest with two certified floor-fillers closely tied to the legendary club.

TW Funkmasters’ “Love Money” took an unusual path to its eventual elevated status as a dance classic. The brainchild of UK radio reggae jock Tony Williams (the “TW” in the group’s name), it was conceived in response to seminal rap release “Rapper’s Delight,” but with reggae superstar Dennis Brown’s 1978 hit single “Money In My Pocket” as the lyrical inspiration. Indeed, the vocal version of the Funkmasters’ song is considered the UK’s very first homegrown rap tune. But it was the flip side that garnered the most attention in New York however. “The original track was quirky and worked at the Garage,” Danny Krivit says, “but when the dub came out, it really blew up everywhere. After that very few people played the vocal.” Krivit’s edit here takes the influential, futuristic dub and tightens the arrangement up for the 7-inch format. “Love Money” went on to heavily influence the New York City dance underground, with homages coming in the form of subtle tributes (Mateo & Matos’ “Love Style”) to a virtual remake from Larry Levan himself (Man Friday’s “Love Honey, Love Heartache”) to the untold records that have sampled or been influenced by the spacey, heavy groove.

We’re back closer to home and a more traditional source for Garage classics with our flip side, Janice McClain’s “Smack Dab In The Middle.” The Philadelphia born and bred singer burst out of the gate with this very Philly sounding single in 1979. Written and produced by her uncle, the song was recorded when McClain was all of fifteen years old, a fact made more astonishing by a commanding vocal performance that resonated immediately with listeners. Recognizing a good thing when he saw it, disco maven Ray Caviano picked the song up for his newly minted RFC label and enlisted Larry Levan himself to mix it for 12-inch release. It is Levan’s version that provides the jumping off point for Krivit’s edit here — “the original 7-inch version the way it was never seemed worth playing,” Krivit says — and he makes the most of the jazzy Philly disco groove, injecting extra energy in the early minutes of the song with a tasty filtered break unique to this mix.

Pressed and mastered with DJs in mind, this loud and crystal clear single is the perfect combination of bonafide Garage classics and the talents of Mr. K, all on one compact piece of vinyl.

Embarking on the next Vargmal chapter with 'Bacchanalia', the new EP from Italian-born, Londonbased producer Andrea Bonalumi, better known as Big Hands. Across three original tracks and a remix by British producer Al Wootton, 'Bacchanalia' moves through hypnotic grooves exuding primal energy and forward momentum, blurring the lines between percussive techno intensity and
subterranean bass vibrations.

Opening with 'Bacchanalia I', Big Hands lays down the foundation with a rhythmic drive where each beat shifts and evolves within a dense, organic framework, capturing the raw energy of live modular electronics. The journey continues as 'Bacchanalia II' shifts focus toward heavier, low-end vibrations, where intricate layers of bass and rhythm interplay in tension-filled dialogue that builds
intensifying energy.

'Bacchanalia III' offers a moment of reflection, pulling back the energy to reveal a more sparse and atmospheric landscape. It's a fitting progression that offers a glimpse into Big Hands' more introspective side, balancing the EP's momentum. Al Wootton's closing remix of 'Bacchanalia I' amplifies the raw percussive energy while adding his signature touch of spaced-out echoes androlling rhythms bringing the release full circle.

These tunes were written in a former Shadwell hospital. Unlike some of London's occupied spaces, this studio-bedroom wasn't filled with dirty laundry and broken dreams, but instead with buttons and flashing lights. Here, Liam Sinigoi gifts us 'Steels HC', the debut release on his own imprint nonsono Records. A dance floor ready four track EP influenced by London's club scene and all of the early mornings that come with it.

“Back For More” is probably the most successful track of Cool Million, but for shure the most looked for. DJs and collectors are willing to pay incredible high sums to get hold of one copy of the original pressings from 2010. Only 1000 copies got pressed and this dancefloor filler is still an active 45 in DJ sets worldwide. This NeoBoogie slam is with no doubt a classic already. Cool Million’s banger and title track off their 2010 album “Back For More” is a teaming up with vocal legend, Eugene Wilde, a soulful synth funk jam, and has remained one of Cool Million’s most streamed singles. Now in 2024, Cool Million is back for more with the refreshed master mixdown and vinyl pressing of this dancefloor classic on Sedsoulciety Recordings. As usual with a never released and brand-new dub version on the flipside. Now hitting the stores all over the world again. Though for all DJs and collectors we are happy to announce the redefinition of up-tempo Neo-Boogie is back for more.