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The Kenyan music scene is one of the most diverse and vibrant in Africa. However, ask any Kenyan which pop music style truly represents Kenya as a nation and there is only one possible answer: benga.

Benga is a pop style with its roots in traditional rhythms, instruments, and melodies. Luo musicians from western Kenya brought the style to prominence in the late 60s but other cultural/linguistic groups in other parts of Kenya quickly developed their own localized variants. With its pulsing beat, interlocking guitars, extended solos, and rapid-fire bass, benga music has dominated the Kenyan music scene over most of the post-colonial period.

Kakai Kilonzo is one of only a handful of benga artists to attract a broad following across Kenya. He opened up his music to others outside his Kamba language and background by singing in Swahili, which is widely understood throughout Kenya. At the same time, with catchy melodies and engaging lyrics, Kakai sang about subjects that all Kenyans can relate to: songs on all aspects of love and marriage, on social responsibility, societal ills (like drinking and witchcraft), moral guidelines, national unity, economic development, and more.

The songs on this compilation are taken from across Kakai's recording career, spanning from the mid-1970s to the mid-1980s, shortly before his illness and untimely death in early 1987, aged only 33. No Wahala Sounds are proud to present this selection of hard-to-find 45s from Les Kilimambogo Brothers, which are being released on vinyl here, for the first time outside Kenya.

The vinyl version includes a free CD copy of the album.

Due for release on 31 July 2020. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music, DJ Ritu from Resonance FM/SOAS Radio, Roger Hill from BBC Merseyside and Steve Barker from BBC Lancashire.

Flaming Pie is the tenth solo studio album by Paul McCartney, first released in 1997.

Having been heavily involved in The Beatles' Anthology project, Paul had time to reflect on the standards he and his bandmates had set during their career, and applied these to what would become his first album in four years. Made in a much more spontaneous style, with songs recorded here and there, mostly on holiday, it's an album that luxuriates in its own sense of fun.

Featuring producers George Martin and Jeff Lynne, as well as musicians including Steve Miller, Ringo Starr and his own son, James McCartney, Flaming Pie would go on to become one of Paul's most acclaimed albums. Sales were brisk, with the album only kept from the Number 1 slot on both sides of the Atlantic by the cultural phenomenon that was the Spice Girls' Spice album.

Half-speed master of the remastered main album tracks cut over 2LPs for the first time

1LP of the Demos and Home Recordings
















o E1. The Song We Were Singing Home Recording
[p] E2. The World Tonight [Home Recording]
[q] E3. If You Wanna [Home Recording]
[r] E4. Somedays [Home Recording]
[s] E5. Young Boy [Home Recording]
[t] F1. Calico Skies [Home Recording]
[u] F2. Flaming Pie [Home Recording]
[v] F3. Souvenir [Home Recording]
[w] F4. Little Willow [Home Recording]
[x] F5. Beautiful Night [1995 Demo]
[Home Recording

PATRICE YVONNE HOLLOWAY was born in Los Angeles and is perhaps best known as the younger sister of Motown’s Brenda Holloway, the darling of the Northern Soul scene, particularly in recent years. Patrice also signed to Motown and recorded an unreleased version of “The Touch Of Venus” made famous by Edna Wright (aka Sandy Wynns).
In the mid-sixties Patrice signed to Capitol records and recorded “STOLEN HOURS”, arranged by the great Gene Page and written and produced by his brother Billy Page – she was only 15 years old at the time. It failed to hit Stateside but some thirty years later it became a Northern Soul anthem of the nineties, although it was originally played in the early days of Wigan Casino.
Our chosen flip-side, the follow-up single, “LOVE AND DESIRE”, was also penned, produced and arranged by the Page brothers. It failed to even get a commercial release in the U.S. although it was released in the U.K. and commands big money in today’s collectors market. Her final 45 for Capitol came in 1972 and was a credible version of the Sam Nesbit classic “Black Mother Goose”. Sadly, ill health, forced Patrice to step back from performing and she died before her time of a heart attack in 2006.
Patrice was also known as ‘Valerie’, singer with the animated girl-band Josie And The Pussycats produced by Hanna-Barbera and aired on CBS in 1971. She would beome the first black character to regularly appear on U.S. commercial TV.

If you are passionate about local music scenes as much as we are you might already know about the current brood of great bands going on in Cardiff, Wales.
Chain Of Flowers were the first to hail from the Welsh capital, followed by related side projects such as Night Thoughts, more recently came Private World of which the two boys we’re about to introduce are also live members of.
A new wave/synth act from the same city called Plastic Estate is emerging this year.

The duo composed by Nicholas James and Stanley Fouracres have released a few digital singles in 2019 as they’ve opened for The Murder Capital at Sŵn Festival and played alongside the likes of M!R!M, Josiah Konder and The Love Coffin. This Place is their first physical release and it’s due on 7-inch vinyl and digital on June 19.

On the two songs that compose the single, Plastic Estate clearly draw influence from the best UK new wave and pop artists such as Dave Gahan, Paddy McAloon, Roddy Frame and yet there is a sophisticated casualness and an innate freshness in their songwriting that makes them not sounding dated at all.
Amazing composition skills for such a young band and a perfect balance between electronic dance elements and acoustic instruments allow them to pay homage to the above-mentioned masters and to be a perfectly contemporary group at once.

Although it’s possible to pick out some darker lyrics, the overall feel is up-beat and breezy. It’s a contrast that runs through a lot of their music – like a dichotomy between dark, melancholia and happier, brighter feelings.
Whether it’s a happy pop synth riff mixed with sombre lyrics or vice versa, the young Welsh duo is delivering the best 80’s-inspired modern pop craft.
RIYL: Echo & The Bunnymen, Prefab Sprout, Depeche Mode, Orange Juice, Wild Nothing.

The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

Queried on his favourite word in the German language, Masayoshi Fujita will pick 'getragen' - without a sliver of hesitation. Further questioning will reveal that he loves the term's semantic signifiers, its inherent sense of "expansive, deep, quiet and sombre." And yet, 'getragen' leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried - two more mundane interpretations that I would rather keep from him. Does Masayoshi's own definition, however, apply to 'Bird, Lake, Objects'? Only to a limited extent. Compared to previous Faitiche releases, 'Bird, Lake, Objects' is certainly the most 'getragen' of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even - and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences were proved our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on 'Stripped to RM' (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece - a very similar version had already been released in 2008 (on the compilation 'Enjoy The Silence', Mule Electronic, 2008). Jan Jelinek, February 2010

Principal is the new solo project by producer and musician Rasmus Allin, who’s first album Treacherous Dub will be released on the Copenhagen-based label StereoRoyal in July 2020.

Best described as an homage to old-school Jamaican dub, Principal’s music features live recorded drums and other instruments. Fused with electronic elements, it celebrates the sound of the original dub pioneers.

Born in 1970, Rasmus Allin has been working as a producer, musician, and songwriter since the mid-nineties, primarily within the realm of electronic music. Inspired by the British trip hop and drum ‘n’ bass scene, he soon gravitated towards Jamaican dub, rocksteady, and reggae. "I found my inspiration in the old Jamaican dub masters like Lee Scratch Perry, King Tubby, Augustus Pablo, and Scientist. I’ve spent endless hours in the studio trying to replicate their sound, using old tape delays, filter boxes, and modulation effects,” he says.

In 2002, Allin formed the band Junkyard Productions, playing major venues and festivals like Elysee Montmartre, Le Triptyque, Télérama Dub Festival, and Roskilde Festival while touring through Denmark, Germany, Switzerland, and France. Alongside this, he continued to hone his skills in producing, co-writing, and remixing music, working with top Danish pop and reggae acts the likes of Natasja, Pharfar, Wafande, Shaka Loveless, and the British girl band All Saints.

Treacherous Dub will be released on vinyl and all major streaming platforms, and will be Allin’s first album of pure instrumental dub tracks —an ambition he’s been wanting to fulfil for years. Marking his debut as a solo artist, the album also marks his premiere as a visual artist, with the album cover lithograph made by Allin himself. For Rasmus Allin, the collaboration with StereoRoyal offered “the perfect opportunity to give the tracks the finishing touches.”

StereoRoyal is a Danish library music label founded in 2010 by and specializes in off-kilter music for film and TV. Originally, the label focused on electronic genres, but over the years has grown to include a broader variety of music produced by some of the most talented composers in Scandinavia.

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum
workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

Something a little different from Athens of the North, Crisrail (Chris Rael) is an almost-LP of mad out there funky post punk from Silver Spring, Maryland, USA. Rated and played this out for some time but it has remained mostly under the radar due to scarcity. I could compare it to The Cure but it's so much more. 500 ONLY

"Playing instruments didn't come naturally to me, but I loved it so much I kept doing it and got better. When I started composing seriously in my early twenties, I didn't have much confidence in my voice or instrumental abilities, but my imagination was on fire and I was determined to create music that sounded like nothing else. I would find my place in the constellation of sound by carving a niche that was so unique, musical virtuosity wouldn't be a factor. I was inspired by Tom Scott of the Muffins, Maryland's legendary progressive jazz quartet, and owner of Black Pond Studios in Rockville, where Game of Music was recorded. It was my first solo release; I played everything except Tom's horn and flute parts. Lacking confidence to perform, I was very much a studio rat and became facile at overdubbing solo tracks. New music reviewers praised it at the time, but its distribution was limited and it's been out of print for decades. Listening now, it's more musically muscular than it felt to me at the time. It's incredibly gratifying that more people can hear it again, thanks to Athens of the North." - Chris Rael

After the success of the 2 Late 4 Love EP, Roy Of The Ravers returns to Emotional Response with a double LP with a deeper perspective, experimenting in ambient and drone textures, lucid techno travails and acid interludes.

Recorded between 1997 and 2017, the album was pieced together over the last six months after Roy's archives were first feared lost and then found. Approached by the label to release a follow up with something more introspective and personal, it was discovered that a recent move to a new studio had led to over 20 years of music being misplaced after it was believed they were mistakenly dropped at a local charity store. However, deep in a box of what were thought to be patch cables were in fact the decades worth of hard drives and here presented, is a sample of those lost recordings.

The nature of the music is introspection, eschewing the acid beats and white noise for a personal encounter between man and machine. The orchestral opening of the title track gives way to the submarine beats, pulsing TB303 and gliding hats of Robinson College 10 to set the outlook to come. Even with the scattering A Dim And Distant Past waking lulled senses, the melodies and feel all lead to a pause and reflect rather than jump and shout.

This is continued with the haunting drives of Bounce Erec and Oriental X0X-Press; the twisted, warped jams of The Weber Traum Boat Pt.3, Ichi and Roland Corp Labs 05; and the beautiful, heartfelt odes in Sade Lost Theme, The Clock House Pt.2 and closer, Nemesis '01. The album's melodic nature hums and shines as CS (6x8) appears as much a centre piece as a alternative consideration to the acid tinged, club bangs of Roy's releases to date.
A surprise package maybe, but in the rolling, word of mouth phenomena that was Emotinium II, all this and more was sensed and so White Sunrise Music II, spreading across 12 songs of contrasting moods, is a further affirmation that there is something good and worthy of exploration.

Re-release of the record originally released on 2016-02-05!

Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O'Malley.

sales information: Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset').

Formed in 1965 by three players from the emerging British jazz avant-garde - Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare - AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies.

Evan Parker famously described the improvisational logic of AMM's music as 'laminal', in contrast to the 'atomistic' approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM's music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP's second side, an extended fragment of 'Mockingbird').

AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic

the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.

- Francis Plagne

Justo Almario comes from Colombia, plays sax and flute. The first of his dozen jazz albums was recorded for Uno Melodic, largely composed and all produced by Roy Ayers. Before this solo album he recorded with Mongo Santamaria, Jon Lucian, Dom Salvador and then on sax for the first time with Roy Ayers on the 1976 album “Vibrations” which included “Searchin’”. He also played with James Mason on the album “Rhythm of Life” which included “Sweet Power Your Embrace”, then again with Roy on the “Lifeline” album which included “Running Away”. Demand for this album has grown in recent years through the aforementioned associations and for the stunning title track

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

These are the first two songs released from The Jacknife Lee, the new album from Jacknife Lee. "I wanted to work with people i’d been a fan of so I found out their email addresses and sent beats. Open Mike Eagle was the first person i contacted and he came to the studio and we did Made It Weird. The track is built around sample of Francis Lai’s Young Freedom. "I loved Kenyan Message by Muthoni Drummer Queen and dm’d her on instagram. I sent her three beats and she chose this one. Sisa Wabaya is about being a wild badass. Muthoni tours all the time so she recorded her vocal in Switzerland with some friends".

To say Fredfades and Jawn Rice are House music producers would be sneering at their efforts across genres like Hip Hop, Soul, and Jazz. The Mutual Intentions collaborators have forged a sound together in classic House, siphoning a myriad of influences through their intricate constructions in the studio as solo acts since first meeting in 2007. Becoming fast friends over a shared love of the dusty beats of an SP1200, Jawn Rice and Fredfades started working together while the Mutual Intentions collective gestated around them. Individual works by Jawn and Fred dot the collective’s back catalogue like various nodes of evolution through the course of MI’s output.
“We’ve always been sharing sketches,” explains Jawn Rice, “but I feel that these past years have been more productive in getting some of these sketches out as songs with Fredrik. It’s just a continuation of our friendship.” Emboldened by this friendship and with their finely tuned skills in the studio,
honed to near-perfection, they eventually started making music together. Following two seminal solo LPs – Fredfades’ Warmth and Jawn Rice’s Highlights – the pair consolidated their music as a duo in 2019, striking out with their electrifying debut, Jacuzzi Boyz. In a fusion between Jawn’s electronic inclinations and Fred’s soulful eccentricities, Jacuzzi Boyz established the duo as a new force workingNew Release Information within the broad scope of House music, with a sound imbued in the origin story of House and the genre’s hip-hop allegiances.
In 2020 they continue to pursue music together in the sophomore LP, Luv Neva Fades. Following the release of the title track and lead single, Luv Neva Fades finds the producers cementing their artistic voice and re-enforcing their commitment to a singular sound. Lush Rhodes keys and bouncing percussion lay the foundations for the album, while buoyant bass-lines and sparkling synthesisers provide
the catalyst for a crooning vocal or ruminating melody. It’s a record that thrives in a sultry mood; an LP that basks in the warmth of its analogue origins and cools in the shade of languid chord progressions.
Like Jacuzzi Boys, this album is an extended collaborative affair, as Mutual Intentions’ reach stretches across the Atlantic with guest appearances from Byron the Aquarius, Javonntte, Arthur Kay, Bendik HK and the SP1200 that started it all. Shimmering melodies, hazy harmonies and boisterous beats draw Fredfades and Jawn Rice out of the jacuzzi and onto the dance floor, moving under shimmering stars, where the duo cement what they started with Luv Neva Fades.

2LP: Gatefold with colored vinyl, Side AB: translucent Purple / Side CD: translucent Green. 12x24 inch fold out insert

Velvet is Adam Lambert's ode to 70's, guitar driven rock and funk music done with a modern twist and accentuated by his distinct and incredible voice. Best known as an international superstar who blew the world away on the eighth season of American Idol. Since then he's gone on to have a fully-fledged solo career, and tour the world with Queen. In addition to his musical achievements, he became the first openly gay artist to chart with a number one album in the US and Canada.

Siti of Unguja tells the story of pioneering women, of the ‘golden
voice’ of Siti Muharam, heiress to the singular legacy of her great
grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the
label embarked upon two years ago on Zanzibar. Siti of Unguja has a
transformative atmosphere, brimming with romance, passion and
protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the
equator and 30 miles off the East African coast out in the Indian
Ocean. Known for its spices, traditional Dhow sailing boats and being
a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and
legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing
village of Fumba, on Unguja (Zanzibar’s largest island), she became
the first Zanzibari recording artist and her recordings sold in tens of
thousands across the swahili world.

The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s
eclectic influence on Zanzibari taarab and her great granddaughter,
Siti Muharam imbues the compositions with feeling. Siti Muharam’s
golden voice carries the poetry and invects a timeless passion. It is
Muharam’s deep humility and love that brings the spirit of these two
women together.

With Sam Jones at the controls, taarab’s conservative layers were
opened up and given more than a little wiggle room. Under the
direction of Matona, the recording of this album paid homage to Siti
Binti Saad’s innovations by bringing back the percussive Kidumbak
style of music that originated on the streets of Zanzibar. By strippping
back the typically dense string section of taarab a space was created
for Muharam’s beguiling timbre that is gilded with emotion.

During the 1970s George Jackson made a series of sublime southern soul recordings at Sounds Of Memphis studios. This LP gathers together rare singles and tracks that were unreleased at the time to showcase this golden period in the soul singer-songwriter’s career.

Recorded using many of the players from the Hi house band, who were at the time being featured on the recordings of Al Green and Ann Peebles.

Four tracks are making their first appearance on vinyl, whilst the compilation features both sides of his rare 1975 Chess single ‘Macking On You’ b/w ‘Things Are Getting’ Better’ and his ER single ‘Talking About The Love I Have For You’, which regularly sells for over $1000 on auction.

Jackson had a long career that saw him write hit singles for artists such as Candi Staton, Clarence Carter, the Osmonds and Bob Seeger, whilst covers of his songs have been UK hits for both Yazz and Joss Stone. However, his success as a writer somewhat obscured his talent as a performer, something that our series of releases focused on him has sought to rectify.

Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

DJ Support and positive Feedback by the likes of
Laurent Garnier, Dixon, Ame, Adriatique, Ian Pooley, Timo Maas, Trikk, Frankey & Sandrino, Sacha, The Drifter, Severino (Horse Meet Disco), Alex Dallas (Zukunft Zürich),
Yør Kultura, Lehar, Denis Horvat, BOG, Echonomist, Fred Everything, Luca Bachetti, Karotte, Roberto Rodriguez…

We're happy to announce the fourth chapter of our sought-after Outbound series which also marks Lossless' second release in 2020. After two extended chapters of Outbound, fully showcasing our labels artist roster, Outbound.4 is a crisp double A-Side affair - featuring two killer Techno workouts courtesy of our French stalwart Anthony George Patrice followed up by two Deep/Dub House delights delivered by Son Dos.

Without a doubt, Berlin based frenchman Anthony George Patrice steadily adjusted and developed his sound to a higher level over the last years. His contribution on Side A - "DBZU (Eine Brücke Zum Übermenschen)" and "Crowned Eagle" exposing new artistic shades and Anthony's ability to take you on a sonic journey and soak you into his rich and driving deeper Techno soundscapes.

Side AA belongs to Son Dos - a creative power plant by two Sweden born men: Barcelona based Marco Gegenheimer and Tapia J. Arriagada living in Malta. The duo already caused a stir with their debut "Children Of Almost" on Outcast Oddity. Marco also released some great music on Studio Barnhus as one half of MLiR!
On our Outbound.4 the guys showcase two amazing cuts originated from fruitful studio jams.

The beautiful "Cala" is hypnotizing us in deep, meditative balearic territories while her powerful brother "Maffio" might have had a little testosterone injection along the way and moves us straight onto the dancefloor. Both tunes are capable to unveil their power outdoors just as much as they will in a sweaty basement!

Son Dos quoting on Anthony George Patrice's tracks:
"These songs sound like a Movie score to us, a soundtrack taking you further and further into an unexplored forest: ...you are on a mission ... chugging drums, haunting strings and rolling percussion guide you... your heartbeat intensifies, with each step that you take...
all of a sudden, the floor underneath you turns into flowing geometrical patterns and you start falling...
a voice tells you "Happiness Is A Miisunderstanding", and the fear you had leaves your mind...you connect yourself with a higher power and realise why you started this mission in the first place"

Anthony George Patrice quoting on Son Dos tracks:
"Lovely balearic yet powerful atmosphere on "Cala"… Head flies and shoes get used. All that you wish for!" ...
"Hands in the air for "Maffio"! Here comes the peaktime booming system. Simple, efficient yet super interesting and deeply rooted dance floor killer. This is ace!

‘SAWAYAMA’ is the debut album from Japanese pop auteur Rina Sawayama - an exploration of identity, family, gender and sexuality, set to a backdrop of future-facing, genre-splicing pop music. ‘SAWAYAMA’ is an exciting first step from an artist unafraid to push pop into new realms. Championed by Pitchfork, The New York Times, The Guardian, BBC Radio 1 (Hottest Record In The World), NME, Dazed, The Fader and many more, Rina Sawayama is heading out on tour this September, October and November with an all-new live show.

AD and Worldline deliver Toy Opulent’s third release - and it’s first vinyl imprint.

Soft Serve Angel projects a clear and present sense of techno drive and a delightful symphony of melodic synths. The beginning is minimal and evolves into a full cacophony of beauty and craftsmanship, layered with the vocals of the mysterious Crisis Luxury. Here, meanderings of childhood tones echo from an East L.A. ice cream truck. From the hailed vehicle emerges the soft serve angel - with a vanilla cake cone prepared, just for you, on a sunny California day. This track is incredibly versatile.


A Soft Serve Angel remix is presented to us by a master of his art, Persuader. He shows us, once again, that minimal drive that we can all count on to provoke thought and movement with modern engineering skills and a familiar old school flair.


Bubble Gum Eyes is minimal perfectly pitched protocol of TR-909 love with a morphing bassline and epic-scale science-synth work. The track addresses both a question and an answer.


Rocket POP! I mean, who don’t love a good rocket pop? This dubby dub dub mix contains fragments of the entire release that sums it up, and finishes it off perfectly - the cherry on top of the soft-serve angel.

Limited edition 180gram premium vinyl pressing and 3 bonus tracks. Released in June 1958, this album (originally issued under the title Little Girl Blue on Bethlehem BCP-6028) was Nina Simone’s first studio recording ever.

Made when she was 25-years old, the album was a huge success and led to a tremendous career that would yield over 80 studio sessions. It was originally issued on the Bethlehem label and features the singer/pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert “Tootie” Heath (one of the celebrated Heath brothers, along with saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial versions of “My Baby Just Cares for Me” and “I Loves You, Porgy”. Simone’s piano is well featured throughout the LP, but “Central Park Blues” and “Good Bait” are the only purely instrumental tracks.

Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound. Through these experimentations he has found a process of producing electronic music that feels close to this urge. Restricting himself to a small selection of analogue equipment, West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath.

‘Odyssey’ is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ The new 5-track EP was mastered by Naweed and will be released worldwide on October 21 in the form of a 12" Vinyl and Download via Erased Tapes.

‘Odyssey’ and ‘Voyager’ are both incredibly stripped down and have a great sense of space throughout them. It's all about using the right ingredients at the right points in time. A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks etc., which interact with the simple arrangements and create little hints of rhythm. I also love the technique of swelling in music, but I realised that hardly anyone has done that in electronic music. So when I first got the synth to swell in and out with the opening chords of ‘Philip’, it was a great moment. Because it creates a human mood in a matter of seconds, which is very difficult to do with electronic sounds. That track is very important to me, and I think it will influence how I make music in the future.’ – Ryan Lee West

West will perform alongside his contemporary composer mates Ólafur Arnalds and Nils Frahm for a special electronic Erased Tapes night as part of London’s The Hydra series on October 18. The same day will also see a special in-store event at Phonica Records, where West will showcase the ‘Odyssey’ EP amongst other tracks on his beloved analogue gear, joined by South London artist Supermundane creating a live art piece in the shop window.

Milton Wright's perfect deep Soul classic "Keep It Up" has always been a top shelf record, everything about it is almost flawless! Whether it's Milton's silky vocal delivery, the incessant guitar driven back beat or the total space Funk vibe of his omnipresent ARP-2600 synthesizer this record has it all. Originally released on TK Disco's more Soul and Funk orientated Alston label which was home to many legendary artists and records, this 1975 sunshine classic never fails to make people move. A classic rare groove indeed. "The Silence That You Keep" takes up side-B, a jazzy, flute driven love song that again features Milton's perfect voice and some fantastic arrangement. A real gem of a record, with the original 45 changing hands for over £100 a time in used condition.

This is the first time "Keep It Up" has been re-issued in it's original 45 rpm format with the original Alston label artwork. It's been re-mastered, re-pressed and made available again with the permission of TK Disco / Alston Records, Miami Florida, USA.

More Swiss jazz bliss! We Release Jazz (Ryo Fukui’s Scenery and Mellow Dream, Marc Moulin’s Placebo Live 1971…) is madly happy to unleash another reissue from Geneva’s very own Boillat Thérace Quintet. The My Greatest Love album features none other than bebop and hard-bop legend Benny Bailey and is available for the first time since 1975 on vinyl LP as well as digipack CD. Galvanized by the creation of the Montreux Jazz Festival in the late 60s and lively local scenes, jazz music was healthy and booming in Switzerland in the 1970s. One band that beautifully captured this energy was Jean-François Boillat and Raymond Thérace’s Boillat Thérace Quintet whose self-titled debut and impressive Montreux appearance set the tone for quality Helvetic jazz in 1974. Following this first excellent impression, the Boillat-Thérace ensemble connected with American trumpeter Benny Bailey and recorded the magnificent My Greatest Love in May and June of 1975. The modal, hard bop and soul-jazz gem includes first-class takes on Freddie Hubbard’s “Gibraltar”, Kenny Dorham’s “Blue Bossa”, and Jimmy Heath’s “Gemini”, plus deliciously funky originals from the Geneva crew, including the upbeat “Le Colin” and the swaying fan-favorite “Prompt” and its thrilling solos. Bailey is on trumpet and flugelhorn, Boillat on Fender Rhodes and piano, Thérace on saxophone and flute, Roger Vaucher on Fender bass, Eric Wespi on drums, and Rogelio Garcia on percussion and tenor saxophone…heavy sessions and deep vibes! This is reissued in conjunction with Boillat Thérace Quintet’s self-titled debut album (1974), also available via We Release Jazz.

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails) as well as Guest Human on this album, Robert Fripp.
Originally released in 2011 and issued on vinyl for the first time, this second album features “Sea Of Size” and “Small Town Psychopath”

Demon Records presents The Final Tour from legendary guitar band The Shadows performing their greatest hits live on this 2LP set made available for the first time. Hank Marvin, Bruce Welch and Brian Bennett together on-stage June 5th 2004 at Cardiff Arena.
It was during a hot summer day in June 1960 that The Shadows entered Abbey Road's Studio 2 to record Apache, the track that was to become the instrumental hit of the decade. It shot to No.1, became an instant classic and saw the start of a string of over thirty hits that included another four No.1’s - Wonderful Land, Kon-Tiki, Dance On! and Foot Tapper.

31 tracks including four No1's are featured on this double LP pressed on red vinyl with printed inner sleeves

Mono Han are brothers Alessandro and Davide, who collectively have a deep and long understanding of electronic music. Davide is a co-founder of N.O.I.A, one of Italy’s first electronic live acts to perform and record with drum machines and synths as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto-house hit “Dirty Talk”. Alessandro, following in his brother’s footsteps was inevitable and he too became hooked on the incredible new sound palette emanating from the early electronic machines.

Since then they have released under an array of aliases, have clocked up numerous club hits and this project brings them back to their 80’s roots.

IZIPHO SOUL are ecstatic to collaborate with Marlin McNichol’s Angel Dove Global.

Legendary 70s funk band Ripple return with their two original members - Curtis “Kazoo” Reynolds & Keith “Doc” Samuels - as RIPPLE 2.20.

For the first project, we present a brand new version of John Edwards’ ‘Exercise My Love’, this is no ordinary cover, check out the slick production and Doc Samuels’ incredible vocals!

On the flip we’ve gone as funky as we’ve ever dared to venture. A remix of Ripple’s signature song, with a fresh modern twist, that will ignite your record rooms now and dance floors soon!
Limited edition of 300 copies

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

Trad Vibe Records is proud to announce the Cassettes of the three first albums by French Jazz-Funk band, Cortex: Troupeau Bleu, Cortex Vol.2 and Pourquoi, all originally recorded between 1975 and 1978.

This is the very first time that these 3 masterpieces will be available together in Tapes. This French Jazz group has become a cult classic for Jazz-Funk addicts worldwide. From the US to Japan and across the world, many are the stars of Hip-Hop, Rap and Electronic music, who have sampled the compositions of Alain Mion with Cortex. These 3 albums have become mythic collectable classics and a favorite for international funk collectors for years! Everyone will now be able to discover or re-discover this trilogy; and one of the finest and most representative bands from the French Jazz scene of the 70