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We have concepts that you can think about, they might or might not be a mystery, it might be fun if you get into that concept, and that would make you think deeply about your life, for us, that's what makes music exciting.

SUB PLATES Vol 5!! - SUB PLATES is back and in the original format that made it such collectable item when it launched back in the day! 2 x 10 inch vinyl replicating the dubplate style acetates. And picking up from where it left off with Vol 5 like it's never been away!

First up is the return of Suburban Base recording artist Cool Hand Flex, who had music featured on the first generation SUBPLATES! The track here 'Get Down' is a piece of uncovered treasure that has been rediscovered having sat on DAT master in storage since around 1994 and never been released. Exclusively held on dubplate by Randell, Hype, and Flex himself, it is finally getting a release as part of this special package.

Next up we introduce brand new music from brand new Suburban Base recording artist Sound Shifter collaborating with the legend Marvellous Cain on the beautiful 'Light Source One', a rolling piece of DnB which manages to keep classic elements of production whilst at the same time delivering stunningly fresh Drum & Bass.

Subbase veterans Sophisticated Bad Boyz open record 2 with the DJ Phantasy VIP '94 Dubplate version of 'Feel The Magic', only held on Dub Plate by a very select few, and appeared only once on the D&B selection album 3 (The Dub Plate Selection) with very limited vinyl of that cut as 5 tracks per side, now for the first time ever you can get this stunningly remastered dubplate cut on a side all by itself sounding truly amazing.

Flipped with another much sought after classic dubplate special 'Intelone' by Asend was a Kool FM only VIP Dubplate around the time Asend aka Dead Dred hosted his show on the Midlands version of the infamous pirate radio station, it made only one appearance on a 1996 Kool FM dubplate special project and has been hard to find ever since. Remastered and sounding incredible!

4 amazing tracks on one highly collectible EP including unreleased tracks and limited dubplates, stunning value from SUBURBAN BASE RECORDS once again, in stock and ready to ship!

Fans have been waiting eight long years for this new album from Ishi that
is expected to drop under Swedish Indie Label Icons Creating Evil Art, the
home of Flora Cash, Summer Heart, and Glamour Hammer.
It will be titled ‘Sweet Gold’ and feature the hit singles ‘Not My Girl’ and ‘LoFi Love Affair’ and the new single ‘Fly Away’. Ishi’s ability to successfully walk
the line between an ambitious studio act and a multi-sensory live experience
allows him to engage the audience in an uplifting celebration of life. His subtle
undertones of inner exploration combine to create a concert experience that is
unequivocally one-of-a-kind.
Each night, Ishi intends to create an entirely unique environment of mysticism,
awareness, love and acceptance. Adored by fans and critics alike, there is no
denying that Ishi is an immersive experience that everyone should discover.
Following the successful release of the Yuksek remix of ‘Not My Girl’ (supported by the likes of A-Trak, Kiss FM, Ministry of Sound, Amazing Radio etc.) and
a remix collaboration with the internationally acclaimed EDM-producer Oliver
Nelson, and his Goody Goody collab with fellow Texans CAPYAC; Ishi now line
up some new original music and the new album dropping early fall.

Lava Love is the new album by Zoe’s Shanghai. Led by singer Zoé Renié Harris, the band has
made a splash into the crowded neo-soul scene with their debut EP A Mirage (Meant To Last
Forever) released in 2019 - a deeply evocative sound and Zoe’s extraordinary voice gained them
immediately the spotlight as ones to watch (“a worthy torchbearer for heady and hearty soul music”-
Earmilk).
Following a successful string of EPs and singles, the Barcelona & Paris-based four-piece band is
now ready to share with the world their first full-length album.
Lava Love was recorded in an old stable in the French region of Auvergne - known for its mountain
ranges and dormant volcanoes, this region could not have been a more apt setting.
Lava and love portray in fact a dynamic flow of memory and meaning pouring out of Zoe’s
Shanghai’s heart. In and out of the metaphor, Lava and love can be powerful, frightening, beautiful,
dangerous and at the same time are essential elements that create fertile change and growth.
Through the 11 songs, the band evoke memories and pose questions - inner dialogues, life stories,
encounters and relationships – the album depicts a kaleidoscope of moods and feelings, prompting
the listener to open to the conversation: while each song presents a microcosm on its own, the album
manifests itself in the shared musical experience - immersive music to listen to and enjoy with your
loved ones.
Produced with Oli Barton-Wood (Nubiyan Twist, Joe Armon-Jones, Nilufer Yanya), the sound of
Lava Love brings together hypnotic melodies, groovy rhythms and thoughtful lyrics - fusing the
essence of multiple music styles and forging Zoe’s Shanghai unique contemporary soul.
The album follows the critically acclaimed EP ‘A Mirage’, which garnered the support of Gilles
Peterson & Huey Morgan (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM and
Earmilk to name a few.

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

The Great Alternative Boom of the early ’90s had begun to wither on corporate FM barely halfway through the decade, but the ever-changing underground had almost entirely regenerated after two major-label thrifting trips. In the ever-in-flux city of Boston, Karate positioned themselves as a crucial tendril in a sprawling nationwide community. They did so largely by refusing to stick to any single formula from the myriad of styles at their root—slowcore, post-hardcore, and jazz. As if to make a point, Karate’s lineup went through its own shift too. In the lead up to 1997’s In Place of Real Insight, Eamonn Vitt took up the guitar, and Karate compatriot Jeff Goddard entered the fold to become the band’s bassist. Armed with two guitarists, the band got significantly louder, and they smeared punk fury all over their second LP.

The Great Alternative Boom of the early ’90s had begun to wither on corporate FM barely halfway through the decade, but the ever-changing underground had almost entirely regenerated after two major-label thrifting trips. In the ever-in-flux city of Boston, Karate positioned themselves as a crucial tendril in a sprawling nationwide community. They did so largely by refusing to stick to any single formula from the myriad of styles at their root—slowcore, post-hardcore, and jazz. As if to make a point, Karate’s lineup went through its own shift too. In the lead up to 1997’s In Place of Real Insight, Eamonn Vitt took up the guitar, and Karate compatriot Jeff Goddard entered the fold to become the band’s bassist. Armed with two guitarists, the band got significantly louder, and they smeared punk fury all over their second LP.

Skuggministeriet “Caged” is the first reference of Scandinavian artist Celldöd under this new pseudonym which shows a sweeter and more melodious side of him. Four astounding tracks swinging between the roughness and urgency of 80’s low-fi electro and the freshness and emotivity of the pioneers of the beginning of the 80’s. Limited edition of 300 copies.

Over the past 16 years, Rebelution has had nearly everything a band could
ask for: chart-topping albums, hundreds of millions of streams, a GRAMMY
nomination, even their own festival in Jamaica.The only thing they haven’t
had, it seems, is time.
“When COVID hit, we found ourselves in uncharted territory,” says frontman
Eric Rachmany. “Suddenly we were just sitting still, which was a completely
new experience for us.”
Difficult as it was to leave the road behind, pressing pause proved to be a blessing in disguise for a band that has emerged from lockdown with their most
captivating, eclectic record to date: ‘In The Moment’. Recorded remotely in the
midst of the coronavirus pandemic, the collection is deliberate and wide-ranging, infusing the quartet’s soulful, exhilarating brand of modern reggae with
addictive pop hooks, alt-rock grit, and hip-hop grooves.
The performances here are bold and self-assured, and the production is equally ambitious, drawing on swirling reverb and trippy delay to create an immersive sonic universe that’s both futuristic and vintage all at once. Strip away the
intoxicating atmospherics, though, and what remains is a work of profound
reflection, a probing, revelatory meditation that balances joy and introspection
in equal measure as it contemplates the meaning of time and invites us to sit
back, slow down, and live ‘In The Moment’.
Includes guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones, and
Keznamdi.
coverage out in reggaeville worldareggae niceup Print: Rock at
Night Magazine
Radio plays for “Old School Feeling” on BBC Radio 2 David Rodigan, The Random Reggae Show Swindon 105.5 Swindown FM and Vibes FM Reggae My
Limits

Alex Nemec (Mirabilis Label Boss / Tronic / Bush Records) & Nik Feral (Dynamic Reflection / Stahlplatten) gave us the labels best selling release of 2020 and so we follow up with a all star remix EP featuring Barem (Minus / Sci+Tec), Simon Baker (Get Physical / Cocoon / Rekids), Iain Taylor (Dirtybird / Balance / Rejekt Music Boss) alongside a previously unreleased rework of original track Ultra from last year’s release.

Early DJ support from Apollonia, Marco Carola, Davide Squillace, Butch, Cristian Varela, Tim Green, Michel De Hey, Tomasz Guiddo, Anderson Noise, Dave Angel with radio plays from Kiss FM, Ibiza Radio 1, Ibiza Global Radio, Ibiza Sonica Radio, Warm FM, Eldarado FM, Dance TV, Dancetrippin TV, Pioneer DJ Radio, Datatransmission Radio and Digitally Imported Radio Belgium.

‘321?’ is the debut EP from MILYMA, released on foundation.fm’s freshly minted label foundation.fm Records.
MILYMA is the multi-instrumentalist and multi-linguistic musician, vocalist and producer with a bright year ahead of her.
Real name Milena Mayordomo, the rising star is based in the creative city of Basel in Switzerland and was born in Germany to Spanish parents. Her music explores the experimental fringes of pop that nods to hip-hop as well as classical, with her cascading arpeggios at the heart of her music making. Her world building capabilities with both music and visuals, place her amongst avant-pop creators like FKA Twigs and Smerz. Her intricate and intoxicating productions show us that MILYMA is already a master of her craft, bringing her thrilling EP ‘321?’ to the table, this Basel based artist is proving to be one of the most exciting acts to burst on the scene. After launching a new era for foundation.fm, both label and artist are sure to go from strength to strength.
This 4-track EP is printed on 140 gram 12” black vinyl, in 200gsm printed card sleeve.

Expansion Records and PIR have got together for a series of souvenir 7” single releases to celebrate the 40th Anniversary of the iconic green label. There will be 500 pressed of each. Profile is huge around the PIR around the anniversary with PIR’s Kenny Gamble interviewed on Radio 2, Jazz FM, Smooth FM and in The Telegraph, Mojo, Blues & Soul and Manifesto. There’s also a “Philly 40” film being uploaded to social networks featuring interviews with Kenny Gamble and Tom Moulton around a series of commemorative releases. The 7” series focuses on the label’s most currently in vogue dance floor records and includes one previously unissued recording by The Jones Girls taken from the company’s Philadelphia vaults. Special PIR 40 logo and design will utilised for the label and 7” range sleeve for this collectors series. More to follow.

The internationally renowned alternative Bluesman, famous for his outrageous one-man live show and songs featured in Breaking Bad (plus many other soundtracks), has now brought his blues growl and rough sound up to peak industry production and style...of around 1974.
This album sits style-wise alongside the greats of the genre: Tom Waits, Randy Newman, Dr John. It also has the unmistakable blues harmonica, voice and wit all his own.
Fans also purchase Seasick Steve, Jon Spencer , and other alt-Blues recordings.
Son Of Dave is a unique genre bending 21st century Blues innovator who has been bringing his 9+ albums and shows to modern generations internationally over two decades and selling over 20,000 hard copies, 50,000 DD, and streaming 3 million annually.
UK PR has secured radio plays at BBC6Music, BBCRadio2, Jazz FM, RadioX Canadian PR has secured charting college station support and national CBC plays.
UK autumn tours include dates supporting Sleaford Mods (not your average blues circuit) 2020 and 2021 singles were playlisted at Spotify curated Nu-Blue, Bluestronica and other alt-Blues type playlists.
Former member of multi-million selling Crash Test Dummies all through their heyday
Has been chosen support for Iggy & The Stooges, Supergrass, Rag&Bone Man,
John Spencer, UB40 and many more. Not the same old Blues in other words.
A very long list of achievements.

unperson has quickly defined his own unique lane of deeply atmospheric and percussive bass-laden electronics. His 'The Ghosts That Gave' EP was released to critical acclaim in March 2020 with support from Mixmag, DJ Mag (9/10 Review) & Resident Advisor and plays across BBC 6Music ('Recommends Spotlight Artist' feature for Tom Ravenscroft), Saoirse's BBC R1 Residency, NTS, Rinse FM + more. With tastemaker DJ support from Call Super, upsammy, Errorsmith, Machine Woman, Minor Science, India Jordan, AYA, Bruce etc., unperson is becoming a formidable new face in the electronic scene having recently contributed to Crack Magazine's esteemed mix series.

The 'Struggles In Conjuring' EP sees unperson step further out of the "corners of the club" than he has in his output to date; with an alluringly warm introduction, 3 tracks primed for peak dancefloor dismantling and a remix from man-of-the-moment DJ Python – who had a career defining 2020 after releasing his 'Mas Amable' album (#1 in Resident Advisor Album of The Year 2020, #3 on Crack Magazine's Best Albums Of 2020, #87 in Pitchfork's 100 Best Songs of 2020 etc).

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

Tape

Ambient Music? Oh yes! Number two in the Frank Music tape series comes from the city of Leipzig yet again. Mary Yalex is a mainstay in various genres of dance music. Better go and check her records on KANN & Dial for instance if you haven't already. We are delighted to give you around 39 minutes of textures, sketches, warmth, weirdness and kindness. In other words: welcome to "Sentimental Journey". Mary guides us through a 10 tracks trip over calm pads ("November Strings"), steady bubbles ("Coral Reef"), postponed dreams ("Broken Café Blues"), ascending melodies ("Moonlight") and bitter realities ("Social Distance"). Tape format for the enthusiast, digital formats for all of us. Artwork by beloved illustrator Jana Marei.

Tape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch's tape collection which he recorded while growing up in Islington, North London, it's also an untold (or more accurately unheard) history of UK underground music of the last 10 years - Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Athlete Whippet join the Toy Tonics family! The London/Berlin-based duo make a sound that is based on futuristic breakbeats combined with deep, jazz chord progressions and a kind of funk that sounds more like it was made in 2100 then in a year behind us. Definitely not a retro record the Vesta EP is further proof that the connection between London and Berlin that has been build by several Toy Tonics artists (Cody Currie the latest in the gang) is becoming a strong one. The combination of the Berlin dancefloor sound and the UK jazz fusion soul is changing the scene and creating new moods. Neo soul and house, broken beats and disco.. there are lot of things happening in that new world and Athlete Whippet could be a strong player in that new sound.

The 2 guys already achieved great support by UK radio DJs such as Annie Mac and Jamz Supernova for their their first collaborative EP Touch (with Metronomy’s Olugbenga), followed by their 2020 solo EP 'Your Love Is Lifting Me', an ode to compassion and solidarity, and remixes for labels including Rhythm Section.

‘Vesta’ is not just the title track of the EP but also the name of the South London Road where they shared an apartment, built a studio in their living room, and put together the first ideas for this EP.

Both Robin and Avi come from a live performance background, played in bands since their early teenage years before they met studying music at Goldsmiths in London. You can hear a playful live quality throughout the EP. It’s not your average house productions with the usual formalistic patterns, but a very original, very fresh style - hard to copy (but easy to dance to).

Now based between Berlin and London, they collaborate with their friend, Athens-born, Berlin-based artist Aphty Khéa on Yesterday and Can’t Make My Mind Up.

Avi and Robin their label squareglass and a London-residency inviting guests such as Seb Wildblood, Will Saul, Asquith, Anu and also have a monthly show on Rinse FM.

Vinyl Only

Expo 2000? Mousse T? Cyberhouse at Hanomag? The many shades of Hannover. If you haven't heard of Felice, now's the time. The city's most hidden secret guides us towards Fantasy, that is. The Nine-Oh-Nine, the piano, it's all in there. House Music for the Jilted Generation. Made in Linden. For the time being available on beautiful, one-sided vinyl only. Well we through in a little download card just in case. Now close your eyes, move your feet and sing along as if nobody is ever watching.

Songs zu schreiben ist für Toby Whyle eine Selbstverständlichkeit, im Musikkosmos ist er seit langer Zeit ein bekanntes Gesicht. Neu ist die Erkenntnis, dass Songwriting für ihn einer der wenigen Wege ist, die grelle, schnelllebige Außenwelt auszublenden. "A Mood Of Its Own" ist der Anfang eines neuen Abenteuers, auf das sich Toby erstmals alleine begibt. Vorbehaltlos setzt er sich den Anziehungskräften von elektronischer Musik und Gitarrenpop aus, umkreist beide immer wieder knapp, lässt sich aber nie ganz fangen. Jeder Song folgt dabei einer eigenen Umlaufbahn, gewährt neue Einblicke in Tobys Gedankenwelten.

Der Titel "A Mood Of Its Own" entstammt einer Textzeile der ersten Single "No One Moves", mit der Toby gleich mal auf dem ersten Platz der Radio FM4 Charts landete. Der Song beschreibt eine Schreibblockade, die zweite Single "Quiet The Silence" begleitet das Auseinanderdriften zweier Menschen, "Pity" erzählt von Stolpersteinen und einem Neubeginn und "How It Feels" von der Suche nach Konstanten in einer schnelllebigen Welt. Auf seiner ersten Solo-EP zeigt Toby Whyle die volle Bandbreite seines Songwritings, lässt einen oft energiegeladen aber nachdenklich zurück. Gemeinsam mit Produzent Maximilian Walch hat Toby unterschiedliche Stimmungen eingefangen, auf das Wesentliche reduziert und eine verbindende Ästhetik geschaffen.

Joviale is a multidisciplinary artist from North London making otherworldly, immersive music that plays with “minimal textures, killer interjections and vocals that are equal parts restraint and rage.” (The Times) Looping these high vocals with heady, emotional chords, they weave a screen around the listener, pulling them into chaptered, strangely sweet variations of the artist, divided out across albums, and designed to generate a performative atmosphere, both on stage and through the recording.

For their forthcoming EP Hurricane Belle NEVER SEVEN, spring 2021, Joviale combines warm sensual exposure with a flash of teeth, as the fictional Hurricane Belle whirls onto the scene, an embodiment of the “sense of electric and spiralised chaos” erupting from the artist’s centre. Hurricane Belle is a Champion that was inspired by Peter Shenai’s “Hurricane Bell” experiment, in which he cast brass bells modelled on the five stages of Hurricane Katrina. Industrial, insatiable and metallic, Hurricane Belle is embedded in the album not only through sound, but also through sight; the first single of the project, Blow, will be accompanied by a self-directed video, reflecting Joviale’s increased interest in the visual arts, and in building multisensory experiences. As written in the accompanying prose for the album, “Let yourselves into my breath, my rhythm and my core. Take pleasure in the whiplash of this collection.”

2019 saw the release of the artist’s debut EP Crisis, in which Joviale wielded narrative and storytelling to build a dreamy, silk-wrapped universe across songs such as Dreamboat, and Taste of the Heavens. As with Hurricane Belle, Crisis was created in collaboration with the producer Bullion, and it has been widely supported by press, including interviews in The Face and Coeval, and features in Dazed, Line of Best Fit, Guardian, The Times, Fader, Crack and Clash, among others. The EP also merited radio support from Huw Stephens on BBC Radio 1, Jamz Supernova on BBC 1xtra, Selector FM, Matt Wilkinson on Beats 1, Tom Ravenscroft, Tom Robinson on BBC 6 Music, Dan Alani on Reprezent, and Worldwide FM, among others.
Joviale belongs to a generation of artists with a strong sense of collaborative, interdisciplinary practice. The artist leans into this skill-sharing, research-led community, valuing project-based work that allows for the development of concepts related to visual and sound culture. This is reflected in them having recently directed a video for Laura Groves, as well as running a bi-monthly radio show on NTS over a period of twelve months. They carry a deep interest in the connection between the arts, ecological sciences, and semi-fictive encounters, as well as the wider London scene. In 2019, The Face described Joviale’s sound and aesthetic as “building the London artist a loyal fan base”, an effect that encompasses their involvement in the city’s music circuit; Joviale built a reputation for their live shows before releasing any official music. They have played support shows for artists that include Celeste, Zsela, Kate Tempest, Nilufer Yanya, Babeheaven, Kindness, and Westerman, and, in 2019, Joviale sold out their first headline show at Folklore, Hackney.

7TH May sees the release of London based trio Penya’s self-titled Sophomore LP, a wild and untamed album that reimagines the global music landscape

It’s an exciting return for the band who have been championed by the likes of Gilles Peterson and lit up festival and club stages in the UK and beyond. Penya look set to carry on the momentum with high profile support on BBC Radio 6 music and Worldwide FM to add to an influx of preorders from fans. Penya;s debut LP “Superliminal” was released via On the Corner Records in 2018. Gilles Peterson highlighted the band as “one to watch” and they enjoyed widespread support that included Tom Ravenscroft, Stuart Maconie, Jeremy Soul, Bonobo Worldwide FM, Boiler Room and The Vinyl Factory, not to mention a spin from Jordan Rakei while he was sitting in for Mary Anne Hobbs on BBC Radio 6 music,

Penya have made numerous live appearances, Worldwide Festival Leysin, We Out Here festival, Fusion Festival (Germany) and End of the Road festival (where they featured in a live broadcast on BBC Radio 3’s Late Junction to name a few, as well as supporting bands like Melt Yourself Down, and Sons of Kemet.

Studio work has expanded via collaborative releases with Dengue Dengue Dengue, Photay, Sarathy Korwar and the Tanzanian artist Msafiri Zawose

“Penya” will be released on 7th May 2021 via the band’s own label “Liminal Recordings” with support from PRS foundations Momentum fund

Super cool Jazz score by Michel Magne in the vein of Take Five, Super Rare too, original copies fetching £250 and upwards.

Anyone who was into the last Jazz Room single release of Take Vibes -"Golden Brown" is going to want to get their hands on a copy of this.

Regularly featured on Worldwide FM's Jazz Guru Gilles Peterson's playlist this is a must buy.

Limited pressing, don't miss out.

Larry de Kat joins Alexis Raphael’s recently launched Paella Hair Sex imprint with his debut EP on the label entitled ‘Radio K-Nip 4.20 FM’.

Utrecht-based DJ and producer Larry de Kat is a rising talent with releases on Slapfunk Records, Lazare Hoche, Ruff and his own Katnip imprint. The artist has built a diverse underground following with his eclectic but distinctive sound gaining support from the likes of Bicep, Mark Farina, Ben UFO and Subb-An. 'Radio K-Nip 4.20FM' explores Jazz, Hip-Hop, House and Funk, adding another impressive release to his growing catalogue.

Alexis has established himself as a critical figure within the house scene since rising through the ranks in 2011. His illustrious career has seen his material land on prestigious labels like Hot Creations, Mad Tech, Moda Black, Get Physical and Nervous, whilst remixing Disciples, Kim English, Tiger Stripes and Miguel Campbell. The recently launched Paella Hair Sex imprint is the beginning of a new chapter in the long-standing Deep House artist’s musical story. A return to vinyl in 2016 sparked the inspiration behind the vinyl-only label, now welcoming a heavyweight release from Larry de Kat this coming March.
Brief ‘cut and paste’ opener 'Tune In Turn On' features immersive drum loops, spoken word vocals and a classic flute sample, laying the way for the rest of the package. The sensational ‘J’ provides a feel-good Deep House affair, as a slick bassline sequence fuses with rising synth lines and soulful vocals to guide listeners on a hypnotic journey. The charming vibe continues on interludes - ‘The Spoiler’, ‘LoPass’ and ‘Zoned Out’ which showcase another side to the artists’ unique style, providing three stripped-back modern jazz affairs.

On the flip, Larry de Kat’s rework of Vanity 6’s ‘Nxsty Girl’ combines funk-infused melodies with taut bass guitar-riffs and loose percussion arrangements to keep the energy flowing. ‘Criminally Understated’ is a harmonic slice of old skool gospel and soul - sensual chords, soft keys and fluttering modulations rise through the cosmos, whilst the B-side interludes 'Lonnies Tune', 'Interloot' and Tribulations round out proceedings in style.

Hugh Masekela, live at The Record Plant on 24th February 1974. This legendary South African-born trumpeter became a major star when he appeared at the Monterey Pop Festival in June 1967, and he had a smash hit with Grazing In The Grass the following year. This superb set was originally broadcast on KSAN-FM, and captures him at his infectious best.

A. Smyth debut album, Last Animals, will be released early next year on 19th February. The album was produced by Darragh Nolan (Asta Kalapa) and mastered by JJ Golden. “…we made Last Animals in January of this year, moments before the world was to change forever. Throughout the record I reflect on the effect we as humans are having on our home, little did I know what was to come.... Last Animals is made up of 10 songs, some big, some small, but all with something to say”.

The forthcoming album’s first taster ’Hero’ (Oct 2019) racked up 338k streams with inclusion on Easy, Your Coffee Break and Breath of Fresh Eire Spotify playlists. It followed a series of equally well-received early singles released by A. Smyth over the last two years, including ‘Second Moon’, another add to Your Coffee Break playlist (alongside many other discovery playlists) with 642k Spotify streams to date, ‘Coming Back To You’ and ‘Fever’, both of which featured in ‘Made In Chelsea.’ With the singles gaining early support by major Irish radio stations RTE Radio 1 and Today FM.

A. Smyth has sold out Whelans in his hometown Dublin, and performed at Ireland Music Week and Other Voices festivals - with an appearance also on Other Voices TV show which aired this Spring. As well as performing UK/international showcases at Primavera Pro, Eastbound Festival and All Together Now (among others).

London-based record label Wisdom Teeth kicks off 2021 with something close to home: Blush - the playful, dynamic debut LP by label co-founder, Facta. Recorded unusually quickly over a short stint in early 2020, the record is the product of a period of refreshed and unfussy creativity. It’s an innovative and distinctly contemporary album that moves a good few steps beyond the artist’s work to date - loosely rooted in UK dance music but taking added influence from ambient, modern classical, dreampop, Balearic, folk music and beyond. The result is a lush, ornate record populated by aqueous pads, bleeping arps, wandering melodies and sparse broken rhythms; acoustic instruments that play out alongside FM synths, all processed with a pristine UV sheen inherited from modern pop music. The record opens with ‘Sistine (Plucks)’ - a crystalline synth piece with a stumbling, shifting metre revolving around an odd-ended MIDI harp loop, coloured through with washed-out pads and snatches of found sound. This breezy mood follows through to ‘On Deck’, where an FM vibraphone rings out on top of woozy, warping chords and a subby soca groove. Moving forward the record moves cohesively through a range of shifting moods and hues. The machine jazz of ‘Brushes’ is tense and coiled, with nods towards Burnt Friedman, Photek and Eli Keszler. ‘Iso Stream’ sees a rich, colourful sprawl of arpeggiated synths and dissociated vocal chops unspool slowly to form pooling, lowlit melodies. Title track ‘Blush’ is a forlorn Autonomic love song built from clicks-n-cuts - like dBridge & Instra:mental reduced and reinterpreted by SND. Throughout, bold, broad melodies take centre stage, and the tracks build like compositions rather than loops or club tools. There are echoes of the dancefloor - particularly in the slo-mo bruk of ‘Verge’ and the glacial subs underpinning ‘Diving Birds’ (a collaboration with friend and Trilogy Tapes regular Parris) - however the end results find us somewhere far off. ‘Blush’ is the second long-form release to come from Wisdom Teeth following K-LONE’s 2020 debut album, ‘Cape Cira’, which was widely ranked as one the best LPs of 2020.

This album is a celebration of benga and rumba music recorded in Nairobi, Kenya in the early 1980s. The five Kenyan groups chosen all feature "Boys" in their band names in one form or another; a common theme in Kenyan music at that time.

The tracks selected were all released as 7" vinyl singles on the Boxer, Lulus and Hit Parade labels, which were all part of Babu Shah's Audio Productions stable. This is the first time they have been released outside of Kenya.

No Wahala Sounds are proud to bring you these lost musical gems and would like to thank Doug Paterson for digital clean up from the original vinyl.

Due for release on 09 April 2021. 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, Steve Barker from BBC Lancashire, and DJ Debbie Golt from Resonance FM.

The first release from Certain Sound is a collaborative effort, the result being two stellar tracks from the dynamic duo; Producer, DJ and label owner Barry Manalog, with MC and all-round wordsmith Ash The Author.

Side A, Cloud Riders, is a light and poetic number. The production oozes those jazz stylings reminiscent of that classic Hip Hop vibe, something to nod your head to on a late night. Ash's lyrical content is hopeful, and dream filled, rising above the clouds like Superman with his Lois Lane. Smooth as butter, the production and vocals go together effortlessly.

Side B, Extraterrestrial, completely flips the script! Whilst side A had us riding through the clouds, Side B completely blasts off and takes us out of this world! The production is gargantuan, heavy drums, haunting samples, it hits you like a slap in the face! Ash comes in on exactly the same tip, a relentless barrage of wordplay and punchlines. Venomous, but still with that slice of wit we've come to love him for, Ash's hunger really comes through on this track! To top it off, we have some seriously ferocious cuts from veteran turntablist DJ Chud, from the legendary Steel Devils crew.



DJ/Radio Support
All City Show/ with interview, Blatantly Blunt, Disorda, Fatp, Realness Radio, 1XTRA, Hatter Saturday Sauce, Boot Records show, Chud on KANE FM, Cypher Lounge Show, BBC Intoducing,Trackside Burners, DJ Madhandz Itch FM, Captain Co, Brick Celly, Hellfire Corner, Deejay Random, Jazz T, DJ Format, Soup (J5), DJ Madhandz.

• Live version of Ray Davies' finest theatrical work!
• The Kinks took the "Soap Opera" album out on the road in the summer of ’75 and performed the entire
record at New Victoria Theatre, London, on 14th June.
• The show was also recorded for live FM radio transmission, which further boosted the fortunes of the
corresponding album.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

First release from Binary Digit’s new label Postal Code Records! Limited copies..

Tape / Cassette

Everyone's favorite synth acid genius, J. Mono from Lajosmizse is back on Dalmata Daniel with the double album Redate I & II tape release, an emotionally filled journey of 24 songs, all showing deep thoughtfulness of composition, mastering soundwaves and harmonies.

This cassette is limited and numbered to 60 copies with risograph printed J-card sleeve in hard case. Every tape comes with unique label sticker for this release and download code.

Over the course of four albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John and Alice Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on Fletcher Moss Park drawing on Eastern influences in his most personal statement yet. His latest album When The World Was One is something of a companion piece to Fletcher Moss Park (much of the music was written at the same time) but draws more explicitly on Halsall's love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall's favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall's large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall's life-affirming sounds.

The Gondwana Orchestra features long time collaborators Nat Birchall, saxophone, Gavin Barras, bass and Rachael Gladwin, harp as well as Taz Modi on piano. Modi who also plays with Halsall in their more electronic trio shares his passion for spiritual jazz and plays the music with real feeling while the role of the harp here is to bring a touch of 'magical reality' a floating dreaminess that is a vital part of Halsall's elegiac and beautiful music. The drummer Luke Flowers is perhaps best known as part of Cinematic Orchestra, and Halsall describes him as 'one of the best drummers in the world' and hails him for 'playing the music exactly as I heard it in my head', Keiko Kitamura is a Japanese Koto player who is becoming an increasingly important part of the Gondwana Orchestra, her role is similar to Gladwin's in that the koto helps free up the music while also bringing a real sound of the East. Finally, flautist Lisa Mallett brings a love of Indian music to the orchestra, much travelled on the continent she brings all of her knowledge and experience to play offering a unique texture to Halsall's dreamy melodies.

The album opens with the title track, When The World Was One, an expansive ascending tune that nods to Art Blakey and McCoy Tyner and draws the listener in before giving way to the dreamy, meditative A Far Away Place which features great work from Gladwin on harp and draws on Eastern influences alongside the music of Alice Coltrane and Yusef Lateef. Falling Water which features the beautiful soprano of Nat Birchall nods to classic spiritual jazz as well, but mixes in the more contemporary influences of Nostalgia 77 and Cinematic Orchestra, while the hard-driving Patterns conjures an up-lifting celebratory vibe with fine work from pianist Modi to set the mood. The beautiful Kiyomizu-Dera is inspired by Halsall's travels in Japan and in particular his visit to the Buddhist temple of the same name. Likewise Sagano Bamboo Forest is named for another place that left a deep imprint on Halsall and aims to capture his feelings as he worked through the vast maze of bamboo trees. Finally the album closes with the self-explanatory Tribute To Alice Coltrane a grooving tribute to one of Halsall's key influences. Driven by a powerful bass line and featuring wonderful work from Mallet on bansuri flute and harpist Gladwin, the band all really find their way into Halsall's groove before the leader plays a beautiful wistful solo of his own and it is the oneness of the Gondwana Orchestra that makes it such a powerful vehicle for Halsall's music as the leader takes you on his very own journey through his musical and spiritual world.

Vertaal first mixtape, Paradigm Shifting had a soft digital released on the 23rd April 2020, on Vertaal’s Empty Quarter Tribe imprint.

Self-produced, recorded and mixed in their own studio, the EP was nominated by Jazz Revelations for EP of 2020 and produced

four singles, ‘Polar’, ‘Duels, ‘Drop Off’ and ‘Dilla5’.


2020’s lock down led to a completely remixed and partial re-recording of the mixtape into a full, seamlessly mixed double LP with 6 additional

tracks and a further 6 musical ‘skits’ recorded separately by all the contributor musicians on the album during lock-down.
The limited edition numbered coloured vinyl 2LP will be released on March 26th 2021 supported by a fifth single, Alcazar b/w Husky on April 2nd

with promo video directed by Ben Sommers (Smoke No Pony Productions) whose previous credits include Mary Epworth, Archive, Young Knives and many others.



Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, Vertaal played an exclusive pick of sold out shows at prestigious venues such as Ronnie Scott’s, Pizza Express Soho and the Jazz Café.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) and finished off 2019 guesting for Richard Spaven at The Cambridge Jazz Festival.



Of the six tracks on the current mixtape, first single ‘Polar’ was played on the uber-cool Deeper Cuts show by DJ Karl Bos who described the track as an “incredibly produced record.”

Tony Minvielle (Jazz FM) urged his listeners to “…hunt this down. They’re making incredible music!” after playing two tracks from Paradigm Shifting on his show,

and the mixtape has garnered similar excited responses from many DJs and reviewers (press list below).



Paradigm Shifting will be released on March 26th. The shrink-wrap will be stickered with full information and press quotes.

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

Cromby debuts on Radio Slave’s Rekids with ‘Twisted Future’ EP, showcasing his talent for tweaked out techno.

Following standout appearances on Feel My Bicep, Unknown To The Unknown, and E-MISSIONS, Irish-born DJ/producer Cromby hits Rekids with a four-track EP of crisp techno cuts. Heavily utilising the sound of hardware across the release, ‘Twisted Future EP’ sees Cromby explore the depths of these classic sound palettes over robust techno frameworks.

‘IXP-42’ brings crunching drums and wiggling synths together for over two minutes, building tension before eventually, the much-awaited bassline comes in thick and fast. ‘Follow The Bass’ brings a dose of the unusual to proceedings, with snaking FM leads modulating throughout a maze of sizzling percussion.

On the flip, Bleep meets Baltimore on ‘Relief’, with meaty acid lines, vocals and clattering drums sparring with each other across the track, while ‘Vortex’ rounds off the release, with bright shimmering stabs peppering the stomping drums and distinct squelch of the 303.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out in February, introduces the album with its ethereal brooding pop arrangement.
Some years ago, the world started to go weird – and that’s when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps.
Phil … and Mof … shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson’s gorgeous opus, ‘Love & Mercy’. The result was enough for them to start writing songs, and the blueprint for Portable Radio was born – hope, empathy, fun, love, and mercy.
Phil had cut his teeth in the Beep Seals and Mof was a DJ and student of pop, and in each other they both wanted to make music that was a tonic for the times; what transpired was a clutch of songs that were filled with uplifting, rich harmonies – stirring power pop inspired by Todd Rundgren, Wings, Carole King, Electric Light Orchestra, NRBQ, Emitt Rhodes, ‘70s West Coast AOR, The Zombies, and of course, The Beach Boys.
The duo released their Baroque Pop debut single with You Are The Cosmos recordings – the double A-Side of ‘Seven Hills’ and ‘Parades’. A cult following started and some shows and radio sessions ensued, joined by extended family – tap room-Mozart Jim Noir, shed-pop wizard Aidan Smith, and Phil’s previous bandmate, the supremely talented Ian Smith (Beep Seals/Alfie).
Soon, Robyn Gibson (The Junipers/Bob Of The Pops) joined the ranks for their star turn and appearance on the ‘12 String High’ compilation. The two becoming a trio, the output cranked up, seeing the release of the debut Portable Radio EP (produced by Jim Noir) and the Christmas Selection Box, all loaded with killer hooks, washes of dreamy harmonies, and just a sprinkling of cynicism because no-one is impervious to the all-encompassing weirdness of the last couple of years.
All of these things were the groundwork for the imminent full-length, self-titled debut, out in March 2021. The LP (vinyl/download/streaming) is full to bursting with big choruses, reflective popsike, FM ready pop, melancholic ballads, with each song is treated like it’s going to be a single.

pink vinyl / 180 grams

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design."
- Aagentah

Tape / Cassette

Novation Summit and Ciat-Lonbarde Cocoquantus improvisations. Recorded live in one-take on July 6, 2019. Originally aired on Ghunghru FM.

Caravela's debut full length LP 'Orla' is an intoxicating mix of Afro-Brazillian rhythms and contemporary London jazz drenched in modern psychedelic and progressive textures. The band's deep and infectious grooves form the basis from which they can showcase their beautiful and mature songwriting craft. Lyrics touching on social and environmental issues in both Brazil and Cape Verde, as well as reflections on modern life, weave between the songs in Loubet's native Portuguese.

Lead single 'A Macieira' garnered airplay on NTS, Worldwide FM and Soho Radio, with Music Is My Sanctuary describing it as an "uplifting and graceful lead single" in their premiere of the track.

*** UNRELEASED AOR / YACHT ROCK FROM 1979 AS FEATURED ON PRAISE POEMS 7***

It is a rare occurrence, especially when you consider that we are writing this in the year 2020, that an unreleased AOR/Yacht Rock album surfaces after 40 years. The Tramp crew first heard about it while discussing Penn Central's inclusion of their song "Sometimes" on "Praise Poems Vol.7".

The band Penn Central was formed about 1978 by Gary Phelps and his younger brother Shawn Phelps. They had been playing together in a few different groups in the Erie, Pennsylvania area since Gary returned there from Penn State in 1974. In 1978 Shawn was going to college at Edinboro State University, just south of Erie, where he met Curt Salvador, a student from the Pittsburgh area. They began playing together in a local Edinboro group when Shawn introduced Curt to Gary. Gary, Shawn, and Curt began to collaborate and soon Gary brought in friend and former high school bandmate Allen Bennett who was an accomplished musician on trumpet and percussion. Shawn then found Dave Lindgren who was playing drums in various bands locally and Penn Central was formed.

The group began rehearsing and playing small venues together. Soon, they began to work on original songs that Gary and the band were writing. They decided in 1979 to record some of the original music at a small independent studio in Erie that was owned and operated in by Keith Veshecco and John Mazza. Soon after recording 7 songs there, a large FM radio station, WDVE, in Pittsburgh sponsored a contest for local bands for a compilation album of local groups. Because of Curt's roots in Pittsburgh, he entered the Penn Central song "Sometimes" in the contest and it earned a spot on the 10 track album that was released in 1980. The band subsequently played in the area for the next few years before drifting apart as the members left college, began new careers, and started raising families. Gary, his brother Shawn, and Curt continued playing together and with other group configurations and as solo artists off and on since that time. They remain friends and share musical ideas to this day.

Key selling points:

- previously unreleased album from 1979
- all songs taken from the original reel-to-reel master tapes
- including full album download code

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

We met Moonilena in Stockholm a few years ago. Pedrodollar told us that she plays weird music and we'd get along - he was completely correct. The subsequent mixtape she put together for the Rinse FM show became a total obsession and it wasn't until months later that we found out some of our favourite tracks included were unreleased, so here we are a year or so later and we hope it soothes and uplifts you in equal measure.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.

Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.

He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.

The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.

Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.

Ubuntu Music is excited to announce the signing of Skeltr for the worldwide release of their album, ‘Dorje’. Skeltr began as a late night, post-gig session between Sam Healey (keys) and Craig Hanson (drums) in the dusty old cotton mills of Manchester. Forging a shared connection inspired by Post-bop and Modern groove, the pair developed a tightly knit, highly musical duo. Their first UK gig in 2017 at the Manchester Jazz Festival saw the duo sell all of their physical records of their debut release in one day. Within a few months of this auspicious start, the lads found themselves supporting L.A sensation KNOWER on UK tour, appearing on JazzFM, Worldwide FM, listed as ‘ones to watch’ in Jazzwise Magazine as well as performing across European jazz festivals, including Reykjavik Jazz Festival, InJazz, Rotterdam and the famous Osloscene Club in Norway. A tragic accident saw hard times fall upon the Duo as Sam suffered a serious hand injury. However, after operations and months of rehabilitation, Sam was able to return to his saxophone and continue playing music again. Having had chance to compose during rehab, the Duo immediately hit the studio and recorded their second album, named after Sam’s new-born son, Dorje. A nucleus of Saxophone and Drums set to scapes of synths, vocals and guest features, Skeltr's second album, 'Dorje', combines heartfelt statements of sensitive, illuminating, incensed improvisation which stem from ardent and fluent melodies. Craig ondrums is as much an expressive protagonist of the music as he is a foundation with deep roots, leading to intricate interplay between the Duo. Themes include understanding the nature of happiness, self-examination and acceptance in aquest to achieve a positive mental state. Ultimately, ‘Dorje’ seeks to provide the listener with a space in which to explore their own relativities with guidance, inspiration and accompaniment. Sam describes the project, saying, “What a wonderful experience it has been to create this album. We look forward to spreading the music far and wide with positive intentions. The sounds are crafted with a passionate energy in our hearts and I hope otherswill be able to feel and hear that.” Concerning Skeltr’s new relationship with Ubuntu Music, Healey continues, “It has been a three-year journey to bring this album to fruition and we’re so happy to have met Martin (Hummel) and Ubuntu Music as the album was coming to completion. This auspicious timing makes the new relationship all the more rewarding. The Ubuntu Music team’s knowledge, experience and phenomenal work ethic are vastly inspiring and will help Skeltr to reach a much wider audience across the world. We look forward to a close relationship with theLabel as we strive to bring great musical offerings to many people.” Martin Hummel, Director of Ubuntu Music, said, “These guys have breath-taking talent. I first came in touch with Sam on New Year’s Day (probably not the best day to do so) and told him what I thought of their music. It’s deep. It’s spiritual. And it shakes your senses, inside out and to your very core. Sam is meticulous in everything he does, and you can hear this in the recording. If you want to feed your soul with the best musical vibes, check this out.”

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

Darker Than Wax's first release of 2021 brings us back to the world of UK dance music with Dampé - the solo project of Joe Munday, a musician, producer and DJ from South London. Joe's foundation in dance music stems from becoming a regular on the floor at influential parties like FWD>> and You're A Melody. Dampé brings together these London sounds with worldwide influences and nuanced, ethereal production to create something entirely his own. With a string of releases on Berlin's Dirt Crew Records, and a monthly show on the venerable Rinse FM, Dampé has carved out a space for his sonic brand of introspective, deep UK dance music. Spurred by a chance meeting with the Darker Than Wax crew in London in 2018, an instant relationship between artist and label flourished through our shared sonic ethos. After numerous setbacks from the chaos of 2020, we are proud to finally share Dampé's label debut with the world - Oil.

Back in 1977, the LP Point Of Know Return marked the commercial peak of Kansas. The Progressive Rock band had experienced tremendous success with their previous release (1976’s Leftoverture) and were no longer starving for a hit, yet the sessions for their fifth album were tense. Steve Walsh briefly left the group in the middle of these sessions. Nevertheless, the LP turned out an even bigger success for the band than its predecessor. It would be their highest charting record and with four million copies sold, it was certified Quadruple Platinum by the RIAA. The tour to support the album brought them to huge venues such as New York’s Madison Square Garden and the LA Forum, with the tour book including an essay written by Rolling Stone contributor Cameron Crowe. The band became a staple on FM radio at this point, and during this period was one of the most popular rock acts in the country. “Dust In The Wind” became the hit single of the album.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• MULTI-PLATINUM 1977 ALBUM FEATURING THE SINGLES “DUST IN THE WIND” & “PORTRAIT (HE KNEW)”
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

Without warning, a group of young girls from a remote region of Benin is shaking up the world of garage rock with breathtaking freshness, ingenuity and energy, playing spot-on, loud and clear.

A musician named André Baleguemon decided to form an exclusively female band rooted in the concerns of its time. He puts the spotlight on the guitar, drums and keyboard, instruments he has admired since his childhood, symbols of modernity in this remote region. His observation is simple: “In the North, girls have no room to advance and women are put aside. I simply wanted to show the importance of women in the societies of North Benin by forming a female orchestra “.
On July 25th, 2016, with the support of the city of Natitingou, André launched a press release on Nanto FM offering to help train girls in music for free. A few days later, dozens of aspiring musicians showed up at the Youth Center. “The girls who came didn’t know anything about music. We selected seven girls of the Waama and Nabo ethnic groups from the surrounding villages, some had never even seen these types of instruments before. “
The girls quickly became passionate about their new musical activities, learning how to play drums, guitar, piano and sing vocal harmonies. Their progress was astounding. An intense work of musical training took place, starting with drum workshops, their favorite instrument. Angelique and Urrice on drums and vocals, assisted by Marguerite, the third drummer. Sandrine is on keyboards, as is Grace, who also sings vocals. Julienne is on bass and Anne on guitar.
André’s determination is one of the key elements of this human and artistic success. The girls have already performed dozens of concerts in the region, forging and expanding an already solid repertoire, while attracting an ever-increasing local audience. In addition to musical progress, he has been personally involved with each family, showing them the importance of his project, both musically and humanly and in particular the fact that each girl must remain in school and not be forced into marriage.

At the end of 2018, their encounter with the young French sound engineer Jérémie Verdier accelerated the course of things. On a mission in the region, he called on his Spanish friends Juan Toran and Juan Serra who showed up with their recording equipment in order to record the band’s first songs in the annex of the local museum. Random encounters and fate led Jean-Baptiste Guillot to hear the tapes. He decided to go meet them at the end of 2019. This short but memorable journey sealed the fate of the record you are now holding in your hands.

“Bernie Says” ist das Debütalbum des in South London ansässigen Produzenten Jake Milliner.

Aufgewachsen in einem musikalischen Haushalt und geprägt durch die Golden Era,
hat sich Jake in den letzten Jahren mit seinem abgespaceten und souligem Sound unter Boom Bap Fans (einschließlich T-3 von Slum Village) einen Ruf als “One To Watch” erarbeitet. Außerdem hat es Jake bereits geschafft Medien wie Boiler Room, Clash Magazine und Afropunk auf sich aufmerksam zu machen.

Jake produzierte bereits für Künstler wie Barney Artist, Hawk House, Bubblerap, Lord Apex, Zilo, Musiq Soulchild und T-3 (Slum Village). Mit seine Debut Album “Bernie Says” tritt Jake nun selbst ins Rampenlicht. Aufbauend auf seinen Boom-Bap-Wurzeln erweitert Jake sein Klangspektrum auf “Bernie Says” um Jazz- und Boogie, mit viel Keys und einem Alfa Mist Feature auf der ersten Single “Reminisce“. Einige andere Pianisten der aktuellen Londoner Jazzszene haben Ebenfalls an dem Album mitgewirkt, können jedoch aus vertraglichen Gründen nicht genannt werden. Gesangstechnische bekommt Jake Unterstützung von ehemaliger Hawkhouse-Sängerin Bubblerap und befreundetem Rapper 25.

Mehrere Stücke des Albums werden von wichtigen Radio DJ’s bei BBC 6, Worldwide FM und NTS gespielt, darunter Marry Anne Hobbs, Tom Ravenscroft und Don Letts.

Das Artwork basiert auf einem Kunstwerk des Londoner Künstlers Stuart Ruel.

First Word Records are extremely proud to welcome aboard Allysha Joy and her first EP

for the label, 'Light It Again'.

Well versed in poetry and performance, Allysha Joy's potent lyricism, unique musicianship and killer vocals have garnered legions of attentive fans the world over. She's an integral member of the Melbourne soul jazz scene, known as part of the acclaimed 30/70 Collective and for her own equally revered solo work.

'Light It Again' is a 4-part expedition across a variety of grooves and deep lyricism that marks a defiant statement of intimacy and hope. Produced and engineered by twice Grammy nominated artist Clever Austin, the EP features accompaniment from an all-star set of Melbourne artists; Horatio Luna, Ziggy Zeitgeist, Danika Smith and Josh Kelly. This EP marks a new sound for the young artist, transmitting her honest and raw expression through the signature crunch and sonic landscape of Clever Austin.

Allysha is already well established across Europe, performing on the live circuit alongside the likes of Sampa the Great, Matthew Halsall, Ezra Collective, Bradley Zero and Children of Zeus, as well as currently hosting two regular radio shows, on Worldwide FM and Reform Radio in Manchester respectively.

Her 2018 debut album 'Acadie : Raw' on Gondwana Records won 'Best Soul Album' at the Music Victoria Awards, was nominated for a Worldwide Award, and featured in many an end-of-year list, including Bandcamp's Top Soul Albums, whilst she's also featured on releases on UK labels such as Rhythm Section, Total Refreshment Centre and now an EP for First Word, 'Light It Again'.

The EP touches on love, shame, mental health, grief & spirituality. 'Watercolours' sets off on a mid-tempo neo-soul jazz tip. Allysha says "I wrote this in the hope that maybe we could all feel the beauty that is present in the every day - in nature, in art, in each one of us mirroring each other so intrinsically. Then maybe we'd all start to live out a message of love."

'Better' follows on an uptempo vibe influenced musically by The Senegambian Jazz Band, who Allysha would watch regularly at Bar Oussou in Melbourne. Lyrically the song explores the external and internal struggles that occur trying to create a more inclusive and compassionate world. "It's about catching myself pointing the finger outwards to challenge social / political systems and certain individuals, then coming to the realisation that I must turn that finger back on myself to ask, "how can I do better, how can I know better?"

Lead track 'Light It Again' begins with Allysha's keys gliding a steppa-like rhythm - head-snap snares and punchy bass accompany ethereal harmonies and delicate vibes on an ever-evolving groove before switching entirely mid-track. This time the subject matter is mental health and "the cycle of addiction and pain, the coping mechanisms that hold us back from reaching our true potential".

The EP closes out with the beautiful 'Mardi'; deep Rhodes, sax and synths build ahead of deliciously slushy percussion and jilted drums. Named for her grandmother, 'Mardi' is a tribute to the spiritual connection they shared before her passing. Allysha writes, "it's about the connective forces of the matriarchal lineage and the drive to step into my own sense of self, in all the beauty and pain which that entails".

Allysha's lyrics weave together a heartfelt mix of love, power, desire, wonder, anger, faith and hope for change. An artist that presents a palette of intricate grace and optimism, whilst unafraid of adding uncomfortable truths. Allysha is an incredibly powerful live performer; her husky vocals sonically synced with her formidable Fender Rhodes playing, whilst her influences are a solid base of jazz, hip hop and R&B; all glazed with the unique special sauce the Melbourne soul scene has become known for globally. A gloriously meditative, raw soul, we are delighted to be able to share her music with you.

'Light It Again' is released on vinyl & digital worldwide, November 20th 2020.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.

Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam.

Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership.

After A Thousand Years will be released on Vinyl LP and CD on the 30th October 2020 via Far Out Recordings.

FEEDBACK

“great release. Really like this!” Antal (Rush Hour)
“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt
“Sounding real good!” Errol Anderson (Touching Bass)
“I love it!!!!!!!” Raffaele Costantino (RAI RADIO 2)
“Sounds great. Congratulations. Will play it on my radio shows.” Batida
“Will pitch album to my editors” Dean Van Nguyen
“Please send me the full album once it's finished.” Francisco Noronha (Publico PT)
“Beautiful man. So happy that he's ok” King Hippo (WLPN-LP / Worldwide FM)
“cracking tune. already lined up to add to playlist. might go into radio show too.. love it” Oli Brunetti (Collectivo Futuro / Olindo Records)
“Amazing! Ive not heard anything from JJ for a long time but a welcome return, this is a cracking track. Looking forward to hearing more new material.” Mickey Jukes (1BTN FM)
“Very vibrant, fresh release! It gets better every time I am listening to it.” Shantisan (Superfly FM Vienna)
“This is a pretty special track , unique sound but very accessible , like it a lot and will play in my show Look forward to hearing the LP” Andy Wilson (Ibiza Sonica Radio)
“So good to hear Jneiro again, loving this cut. Thanks!” Chris Knight (Astrojazz)
“sublime !!!! will definitely play !!!” Mark Milz (Radio Corax)
“I-Robots approved!” Thanks for sharing...” I-Robots

resh imprint Caldeira open their account with the first vinyl retrospective of Swiss composer Louis Crelier, whose FM sorcery and LinnDrum drama takes the listener away to an imaginary Africa.

Standing proud amid the sound waves, Caldeira emerges with a singular mission; to bring us music with hidden depth. Whether it’s a reissue or retrospective, archival or original, each release reflects the Michelin-grade tastebuds of label founder Camille Bertin AKA Plastic Bamboo.

Operating out of the shadow of Les Puces, the Saint-Ouen digger, DJ and producer has turned those in the know onto a wealth of zouk, boogie, proto-house and Balearic bombs over the past couple of years, but it seems he’s saved something truly special for this first release.

Rich with FM synthesis, infectious rhythms and evocative motifs, Rester Partir transports us to a fantasised Africa, found onstage at a Lausanne Theatre in 1985. Scoring a story about a 19th Century French missionary’s trip to Timbuktu, Swiss composer Louis Crelier created his own sonic landscape, capturing the exoticism and otherness of an imaginary Mali. Though the hypnotic rhythms and cascading mallets conjure images of the continent, the queasy keys, dubby idents and synthetic sonatas suggest something more interplanetary - picture James T. Kirk and Spock beaming down into the ochre dust of a ruined city.

Aided and abetted by a selection of ambient interludes, jazzy diversions and polyrhythmic excerpts from Crelier’s film work, as well as the exceptionally Balearic Deep In The Dale from TV series Alpine Academy, the largely unreleased compositions on Rester Partir finally break the fourth wall to find the wider audience they deserve.


Words by Patrick Ryder

clear red & blue mixed vinyl

- "Gut-churning bass" - The Wire
- "a deep dive into UK soundsystem forms, half-time bass pressure and lucid electronics" - DjMag
- "a hell of a journey through a subaquatic scape" - Backseat Mafia
- "evoking oceanic stillness and violence, the song ebbs and flows between delicate rippling and powerful waves" - Fuxwithit
- Plays on Rinse FM France and UK & Tom Ravenscroft BBC Radio 6

30% of profits on this record go to an ocean cleanup organisation TBA

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Posthuman makes his Food Music debut with the infectious “You’re Mine”.

The Frank DeWulf-esque stabs and swagger from this tune have already had many "ID?” requests from people since airing on Rinse FM and a DJmag social media video over the last few weeks and months. Posthuman has taken his sound to a fresh area which is complimented by remixes by none other than Luke Vibert, with an ice-cool swung-groove, Black Girl/White Girl with a full on pounding Techno workout and on the digital package, newcomers Mac & Ward do the big room House thing to perfection! In addition we’ve included “Find Me On The Edge of Town”.. an acid-kissed piece of Techno which sits the cherry ontop of an awesome release for us on Food.

Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

This vinyl / digital EP, 'Les Mouches', is their first release for First Word since the acclaimed beat-tape 'French Cassette' from early last year.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with some subtle scratches, it's four minutes of funk presented in Souleance's inimitable way.

'The Bounce' follows and enters a more soulful side of the dance, dropping the tempo a touch and inviting in a huge bassline, squelchy keys and intermittent vocal hooks.

'Mont Maudit' takes more of a latin jazz direction with big drums and cymbals rocking throughout, whilst an infectious piano hook cruises throughout, and an ethereal gospel choir switches up the proceedings mid-way.

Things get deeper still with the epic broken beat-esque 'Maneuevers'. Crunchy rhodes dominate this slightly tweaked-out rhythm, a delectable piece of heads-down nujazz fused with Souleance's unmistakable funk once again.

'L'Opuleance' closes out this EP with some more traditional Souleance fare - the tempo a little more head-nod, this one is comprised of some deliciously wobbly bass, chopped samples and hefty breaks.

This EP is essentially a set of grooves marinated in nostalgia whilst managing to sound entirely current. Analogue synths, live bass, sleek cuts and intoxicating drums. This is another round of sure-shot dancefloor fire from our favourite French family.

Previous support has come from OkayPlayer, Bill Brewster, BBC 6 Music's Gilles Peterson, Tom Ravenscroft & Huey Morgan, and various DJs on Worldwide FM, NTS & Le Mellotron,

After his acclaimed debut EP « Cotonou » on Alma Negra’s record label, James Stewart comes back with his new EP Atlantic River Drive for Mawimbi Records, featuring two collaborations with Ghanaian kologo musician Ayuune Sule as well as two remixes from Simbad aka SMBD.

James Stewart met Ghanaian kologo musician Ayuune Sule, after booking several shows of kologo music star King Ayisoba in Lyon. Stewart was quick to witness the bluesy tone of Ayuune’s voice and his kindness as a musician, despite his impressive stature. Quite logically, Stewart invited Sule to record vocals on two of his ongoing demos at Bruno Patchworks’ recording studio (Voilaaa, Mr. President, Da Break), with the idea of making a rather unheard crossover between traditional kologo music and contemporary styles that would both appeal to Ghanaian crowds and a Western audience. Stewart then had a number of his arrangement ideas re-recorded by a talented cast of musicians, resulting in a brilliant mix of acoustic and electronic textures, sounding both vintage and modern.

Nodding to Eddie Palmieri’s landmark record “Harlem River Drive”, “Atlantic River Drive” is a stomping dancefloor track, drawing from the 6/8 feel of kologo music and the energy of contemporary club music. The track can be read as a tribute to the musical cross-pollinations between the African continent and its many diasporas, which Stewart has dedicated a long part of his life to, but also as a more intimate story about his life and family. All words were written by Stewart and then translated by Sule in his native Fra fra language from Northern Ghana.

“Where Are We Going?” is a two-part journey that reminds us that we should care about each other, about our communities while we don’t know what the future is made of. An important and much welcome message to navigate through these troubled, uncertain times. Referencing congolese N’dombolo tracks, the track has two parts and rich arrangements, with its first part going deep with syncopated clarinet hooks and playful percussion parts, and its second part moving to a four-on-the-floor pattern and an entrancing baritone saxophone solo.

The EP also features Worldwide FM and Brownswood maestro Simbad, who delivers two dancefloor-ready reworks of the track “Where Are We Going?” under his SMBD moniker, turning it into a spiritual, dubby journey, as well as an emotional house music track.

Libreville Records is proud to present a focus on legendary electronic swiss project Mega Wave Orchestra in the form of a compilation LP including unreleased material.Originally released privately in Geneva in 1988 as a box set containing five LPs by The Mega Wave Orchestra and five prints by the artist H. Richard Reimann. The Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music big-band. It was comprised of seven multi-instrumentalists Christine Schaller, Vincent Barras, Jacques Demierre, Olivier Rogg, Rainer Boesch, Roger Baudet, and Benoit Corboz, with Oestreicher as arranger and producer.The Mega Wave Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band leaders/writers resulted in a wide variety of music across the five discs: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.Lovely crafted tip-on sleeve. Remastered from Master tapes. 600 copies.

Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard.

Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.

Hot on the heels of their proud new charity project and first ever compilation ‘Freeride Millenium presents Queer Base’, this agenda setting label returns with an evocative new EP from Brazilian artist Rotciv, also appearing on vinyl in collaboration with Pauls Musique. DJing since 1996 and Berlin based since 2010, Rotciv has been playing places like the acclaimed Panorama Bar, Frankfurt’s legendary Robert Johnson club and the Cocktail D’Amore parties for many years. He runs Mister Mistery, a label focused on house music, while also releasing himself on Luv Shack, Unterton (Ostgut Ton) Skylax and many more. All this comes alongside his The Rimshooters project with Massimiliano Pagliara. He kicks off this fresh EP with ‘Number of Names’, a rugged roller on the border between house and techno with a phased bassline and rolling chords that get you in a meditative state. The more upbeat ‘Glutamate Transmission’ gets you shifting shapes with its daubs of acid, crisp percussive flashes and busy bassline, then ‘True Colour’ has an old school Chicago feel with its chatty claps and acid lines. The moods continue to evolve with style on ‘Bubbles The Chimp’, a tense cut of broken techno, futuristic machine sounds and lively synths. Beautiful ambient closer ‘Soundwaves’ is a lush comedown amongst the stars. This is a fully formed and journeying EP of fantastic underground sounds with artwork by Daniel Rajcsanyi.

These two pivotal figures, who have stood at the forefront of drum & bass for over two decades, have now teamed up with an array of globally respected producers including Calibre, Roni Size, Nu:Tone, S.P.Y, DJ Zinc, Chimpo and DJ Marky, to create an uncharted 16-track LP. Following on from the success of the pair's first single 'Fix It All (feat. London Elektricity)', sit back and get ready to embark on the lyrical journey of a lifetime.

DRS first came across Dynamite during his time in Roni Size's Bristol collective Reprazent, the winners of the 1997 Mercury Prize 'Album Of The Year', now showing full circle movements in 2020. 'Playing In The Dark' pays respect to this collaboration and the combination of styles which is signalled so clearly throughout DRS and Dynamite's sound. As Dynamite explains that "the producers brought their pallets" for himself and DRS "to paint on", the duo were able to convey their message, history and wisdom in one of the most boundary pushing
projects that drum & bass has seen.

Multi award-winning saxophonist and composer Nubya Garcia is back with her much anticipated debut album, SOURCE. Her first release on Concord Records, under the iconic Concord Jazz imprint. The album follows her 2018 self-released EP, WHEN WE ARE, the title track of which was described as “effervescent” by The New York Times and named one of NPR’s Best Songs of 2018. Her debut EP, NUBYA’s 5IVE, released in 2017, was hailed as “exceptional” by The Vinyl Factory and sold out on vinyl within 24 hours. In 2018, Garcia also featured on five of the nine tracks on WE OUT HERE, the Brownswood compilation project celebrating London’s young and exciting jazz scene. She won the Jazz FM Breakthrough Act of the Year Award and the Sky Arts Breakthrough Act of the Year Award in 2018, and the Jazz FM UK Jazz Act of the Year Award in 2019.

A collection of sonic mantras to live by, SOURCE is a deeply personal offering in which Garcia maps cartographies around the coordinate points of her identity, her family histories, grief, afro-diasporic connections and collectivism. SOURCE is fundamentally about getting grounded within yourself, so that you can be present with others. It's about a realization of personal and collective power: the evolution of the saxophonist’s values as she re-connects with herself, her roots and her community. Garcia digs deep to present an album with a global outlook: from London to Bogota, Caura to Georgetown, it's a record drawing inspiration from the many places Garcia calls home.

Italian Disco remixer extraordinaire Moplen is back at the controls with a super sublime reworking of a wonderful and rare early 80's Leroy Burgess jam from the Salsoul vaults. 'Heartbreaker' is an underground classic, seeing Burgess back in the studio with longtime collaborator Sonny T. Davenport and Kiss FM mastermixer and producer Shep Pettibone on mixing duties. A tight and flawless early 80's production sensibility and the incredible vocal arrangements and lyrical performance of Leroy Burgess make this one a definite essential in any DJ's box. This is the real deal. If you dig that post-Disco electronic sound this one is for you, simply perfect in every way and quite tough to track down these days in its original form with copies reaching high figures on the second hand market. Needless to say, Moplen injects his own personal style into his remix and adds his unique flair creating an essential new version of this classic on the B-side. Always understanding, respectful and fresh, Moplen pumps 'Heartbreaker' in all the best ways, crafting a drum and bass heavy DJ version and new arrangement that you will be hearing for many years to come! Disco bliss.

This remix and reissue is 100% supported by Leroy Burgess, who dug Moplen's new vision of this 1983 classic. Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. Ahighly ambitious and personal record that sees Thackray leading a septet featuring
Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl. An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brewera Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record
label, Movementt (in association with Warp). Championed by Gilles Peterson, Theo Parrish and Jamie Cullum, Thackray has firmly cemented her place among a new wave of exciting young
musicians, collaborating with Makaya McCraven, Junius Paul and Angel Bat Dawid, and still finds time to host her monthly radio show on Worldwide FM. Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals,
Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.

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.

'Foom label head Benjamin Freeney reworks Tim Burgess & Peter Gordon's restless, psychedelic epic, "Temperature High" into three new forms (two cuts for the dancefloor, and one ambient interlude), rearranging the rich source material of the original (metallic field recordings from the New York subway, Peter Gordon's original Korg bassline reincarnated in sub-bass form, Tim Burgess' ethereal vocal cut-up into new patterns) and fusing it with new percussive and melodic elements. The original track was featured on Tim Burgess & Peter Gordon’s Same Language, Different Worlds album from 2016, with contributions from Arthur Russell's close collaborators Peter Zummo and Mustafa Ahmed, as well as Factory Floor’s Nik Void.'

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

After nine years of quality assured house music, FINA Records hits release number 30 with another of its forward looking offerings, this time from red hot young Frenchman Armless Kid.

Well known on his native Paris circuit, Armless Kid is now breaking out on the wider international scene. He's released his bustling, heart felt house grooves on Rekids and the legendary Classic Music Company, is a Rinse FM regular and has an anything goes approach that has won him high profile fans like DJ Harvey and The Black Madonna.

Opener Shadows is a superbly warm deep house cut with real drive in the silky smooth drums. It's perfect for cosy dance floors, while Lost Days picks up the pace with raw and hurried kick drums and dusty piano keys bringing real beauty to the groove. Brute Factor Disco pumps any party with its urgent drum programming, explosive sense of energy and dazzling disco chords and last of all, NaturaL FL Groove slips into a funky bass riff, with organic licks and authentic old school production values that make it a timeless classic in the making.