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ASSASSIN veröffentlichen ihre erste EP überhaupt - freut euch auf vier neue, knallharte Thrash Metal-Songs, die vor Härte und Groove nur so strotzen, sowie eine Thrash Metal-Coverversion eines Fleetwood Mac Songs!

ASSASSIN veröffentlichen ihre erste EP überhaupt - freut euch auf vier neue, knallharte Thrash Metal-Songs, die vor Härte und Groove nur so strotzen, sowie eine Thrash Metal-Coverversion eines Fleetwood Mac Songs!

based songwriter Henrik Appel returns with third album Shadows. Ranging from freewheeling garage rock to intimate moments, and adding touches of jazz, Shadows is inspired by the likes of Bob Dylan’s Blond on Blonde and The Fall’s Hex Enduction Hour and another step of his continued evolution as a songwriter and artist.

For as long as he’s been a solo artist, Henrik Appel has been in a constant state of evolution. His first album, 2018’s Burning Bodies, was a meticulous construction project, one that came togeth-er over a five-year period and that saw him chronicle, with searing honesty, the slow death of a relationship, with its nine songs written according to a stringent set of self-imposed rules, intend-ed to keep the songwriting minimalist and bare-bones in nature.

His 2021 follow-up, Humanity, represented a remarkable progression of its own. It was born out of a break-up of a different kind, this time with his former bandmates in Stockholm outfit Lion’s Den; piecing together aspects of the vision he’d had in mind for the band’s never-realised second al-bum, he built from them his own sophomore LP, one that took the classic feel of Burning Bodies and imbued it with adventurous new influences, as he began to carve out a genuinely singular sound.

Now, three years on from Humanity, Appel has made another ambitious left turn. Neither of his first two albums were made in complete isolation; on both, he enlisted the production services of Stockholm underground legend Martin ‘Konie’ Ehrencrona, and also collaborated on his lyrics with his partner, Emma Lind. Now, on this thrilling reinvention of a third record, Appel has turned away from perfectionism, placing chief importance instead on making a raw, human record.

Having spent the last 10 years tinkering with his songwriting through his extensive catalog with folk/rock group Mapache, as well as his debut solo album ‘Off My Stars’, Sam works alongside co-producer Johnny Payne for his follow up sophomore solo album ‘Real Life Thing’ via Calico Discos.

Sam was born in Los Angeles in November 1994 and currently lives in Ojai, CA. Having had residence in Los Angeles, CA / Coahuila, MX / Orem, UT & New Orleans, LA - it’s safe to assume Sam will be on the move again soon and with more fresh energy to give of himself through his art. Determined to live by creation, Sam is the type of artist that is always creating something, maintaining a sort of inexhaustible hunger to make his music. Expressing himself through sound has now gone beyond joy and into being second nature and Sam’s real first language.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

"In a world where there are no more heroes, the Fleshtones walk the earth like Roman gods. Since their inception in 1976 in Queens, New York, and their sweaty, boozy gestation at legendary venues such as CBGB, Max’s Kansas City, and the storied Club 57— recently feted at the Museum of Modern Art, where their proto-video underground film “Soul City” was unspooled for art stars, glitterati, and a raft of punk rockers who managed to get past the front gate — they have perpetrated their proprietary brand of SUPER ROCK, a frenetic amalgam of garage punk and soul, punctuated by the big beat and unleashed with the spectacular show business majesty which has kept them on the road for over forty years, adored by audiences whose love for them borders on religious fervor.

It’s Getting Late (…and More Songs About Werewolves) is a smash that could have dropped at any point in their epic career — it is an outburst, and a celebration of the SUPER ROCK sound. Unlike their contemporaries, they have not dialed down the tempos to compensate for osteoporosis, they have not lost anything on their fastball, and continue to throw it for strikes. The hardest working band in garage rock has never sounded better, and now you see why they've been your favorite band's favorite band for decades."

Alan-Parsons-Fans dürfen sich 2021 gleich über zwei besondere Reissues freuen: Der britische Musiker, Tontechniker und Produzent legt seine Alben »On Air« und »The Time Machine« noch einmal auf, und zwar auf CD und LP. Die beiden Vinyl-Versionen kommen auf Translucent Blue Vinyl bzw. Transparant Vinyl, sind nummeriert und auf jeweils 1500 Exemplare limitiert.

»The Time Machine« erschien 1999 und ist das dritte Soloalbum von Alan Parsons. Es handelt von Zeitreisen und von der Erinnerung an die Vergangenheit.

Der Gesang auf dem Konzeptalbum stammt unter anderem von Tony Hadley (Spandau Ballet), Colin Blunstone, Maire Brennan (Clannad), Beverly Craven und Neil Lockwood (ELO).

»The Time Machine« klingt wie eine Kombination aus dem Alan Parsons Project der 1970er-Jahre mit einer Prise Pink Floyd und ist ein Klangerlebnis, das Fans von Parsons, New Age und Electronica begeistern wird.

Das Album beginnt mit dem Instrumental »The Time Machine (Part 1)«, geschrieben von Cockney-Rebel-Schlagzeuger/Komponist Stuart Elliott (später Al Stewart und Kate Bush u. a.), das der Art und Weise ähnelt, wie das Project sein Album zu eröffnen pflegte. Es gibt den sanften Song »Out Of The Blue«, mit Leadgesang von Tony Hadley von Spandau Ballet. »Ignorance Is Bliss« ist einer der schönsten Songs mit dem Gesang des ehemaligen Zombies-Leadsängers Colin Blunstone.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

The 1990 album Scène De Vie was the big follow-up album to her debut Mademoiselle Chante and it confirmed the singer's talent and potential. The album went straight to the top of the French charts and featured several successful singles, including ""Les Hommes Qui Passent"", ""Les Mannequins d'Osier"", and ""Kennedy Rose"". The album eventually reached 2 million sales worldwide and received a diamond status. The album also had great success in Germany, Switzerland, Belgium, Canada, and Russia. Scène De Vie is available as a limited edition of (1000?) individually numbered copies on crystal clear vinyl and includes an insert.

Pedals is the second studio album from post-hardcore band Rival Schools, released 10 years after their debut record United by Fate was first released. Pedals was recorded by the entire original cast, whom were seen as a tremendous influence within the post-hardcore movement. Where United by Fate was an album often ready to burst at the seams with energy, Pedals shows a more matured and controlled feel, even somewhat experimental at moments with bass tones and frequent use of acoustic guitars and distortion effects. Much like the 2022 reissue of Rival School's first LP, this reissue features packaging updates curated specifically by the band to create the definitive version of this record. The album's artwork has been updated with new gatefold packaging and a slip-case cover along with an updated set of lyrics and liner notes. In addition to all ten original tracks, the second disc of this edition includes three b-sides and four live tracks.

Aged Acid EP. The name speaks for itself. Like a well aged wine, DFD aka Troy Anderson shows how to make acid sound smooth and superior. This EP contains 4 deep atmospheric grooves, each with its own unique style and love for detail.

Troy has been releasing electronic music under aliases like Waverider and Cityboy since the 90s. Recently, he started cooking up fresh new tracks and released an EP on the legendary label Down Low Music. Also, some of his releases from back then are now available on We're Going Back. Enjoy the ride!

Machen Sie Ihrem Schallplattenspieler mal eine Freude und lassen Sie ihn einen Hit nach dem anderen
spielen! Und zwar nicht irgendwelche Hits, sondern die dreizehn größten, lässigsten, swingendsten, sentimentalsten von Dean Martin!
Auf dieser LP im stylischen Cover-Artwork versammeln sich mit “That’s Amore,” “Ain’t That A Kick
In The Head,” “Volare,” “Sway” und anderen Ohrwürmern nur Mega-Klassiker aus dem an Klassikern
nicht gerade armen Werk von „Dino“. Frisch remastert für LP klingen sie so brillant als wären sie erst
gestern aufgenommen worden.

No stranger to the Spatial family following the release of his excellent Age of Awareness EP back in 2023, Eusebeia brings his eclectic breakbeat driven vibes to sister label
Curvature for an EP spanning a variety of energies with a free-spirited approach to drum patterns and atmosphere you wont want to miss.

A1 Set In Motion
Shimmering melodic keys and light hi hats quietly introduce Set In Motion, as Eusebeia takes a laid back opening approach to his Curvature debut. Clean, wandering breaks enter the mix and develop continually, as a subtly used, luscious female vocal greets the listener with a curiously soothing vibe. Following the breakdown, a deep, pounding bassline punctuates skillful synthwork riddled with intrigue and atmosphere to round off
a unique, eclectic track.

A2 In Perpetuum
Stepping things up with a doggedly breakbeat focus, In Perpetuum is an energetic piece with an opening backdrop akin to an aging printer being coaxed back to life,
before an echoed vocal welcomes hyperactive, rasping breaks, edited and chopped with the scintillating talent we have come to expect from Eusebeia. The latter half of the
track changes up the vibe slightly with inquisitive padwork gliding above the omnipresent edits.

B1 Flow State
Subtle cowbell style cymbals and gentle melodies introduce Flow State, before an inimitable duality of old school atmospheric breaks pass the baton repeatedly through the track in typically impactful style from Eusebeia. The melodies and an understated bassline wrapped around kickdrums continues through the various phrases before the beats depart, leaving the listener to reflect on a truly captivating track just as the title
suggests.

B2 The Cure For What Ails You Reverberating percussion and classic whale sounds instantly grasp your attention
before ominous 808 bass ushers in a thunderous helping of pure amen pleasure sent straight from the old school - edited and programmed to perfection by Eusebeia with a
finesse seldom seen in modern production. Dense kickdrums vibe perfectly with the highs and mids of a track destined to headline many an atmospheric junglists set.

Written and recorded in London at Abbey Road Studios, "Les Chansons de l'Innocence retrouvé", Etienne Daho's 11th studio album, is now reissued on LIMITED EDITION double LP. Two vinyl with 23 additional tracks on the double LP (live versions, alternatives...). " Les Chansons de l'Innocence retrouvé " is a free and out-of-fashion album written and produced with Jean-Louis Pierot. Cinematographic and epic, with a permanent tension oscillating between lightness, flamboyance and gravity. We meet the ghosts of Francis Bacon, the slums of Soho, William Blake and John Barry for the haughty beauty of the strings or David Lynch for a dizzying “L’homme qui marche”,Debbie Harry, Nile Rodgers, Dominique A, Jenny Beth, Yan Wagner, François Marry and Au Revoir Simone come to accompany Daho on this dense and Dionysian journey. A masterstroke.

A fixture of the French pop scene beginning in the mid-'80s, Calogero enjoyed success as a member of the trio and as a composer-for-hire before finally mounting a solo career in 2000. Now be is back with a brand new album! The album includes single ""Parie qu'on s'aime encore"" feat Ibrahim Maalouf. "X" (Ten) is Calogero’s tenth album.

"Louane is back with ""solo"", a new album that shows us a new side of the artist. She asserts herself, fully embracing her emotions, without fear of trying new things or putting herself in danger. After an 11 year career, we discover a body of work in which the artist reinvents herself and experiments more than ever. This new album celebrates the many facets of her personality, offering her, thanks to those who accompany her, a new freedom allowing her to express her individuality. A solo climb, without nets, with the strength of her conviction and talent.
Available on CD and LP. "

"Cornish singer-songwriter set to release his debut album ‘Something To Say’. Produced with Will Hicks (Ed Sheeran) featuring contributions from the likes of Ash Soan on drums (Adele), Fred Abbott on guitar/keys (Noah And The Whale) and hitmaker & broadcaster David Grant on backing vocals, demonstrate the depth of The Gleeman’s musical musings and mark him out as a serious album artist.
With a plethora of press proclaiming his virtues, a rally of radio support including BBC Radio 2, BFBS, BBC Radio London, BBC Introducing, BBC Radio Cornwall, BBC Nan Gaidheal, Radio Caroline and play- listed twice on the UK’s fastest growing radio station Boom Radio, a Top Ten hit in the Music Week Commercial Pop Club Chart and with Live dates as a special guest of acclaimed artists Ian Prowse, Starsailor and Damien Dempsey, with songs that indeed have ‘Something To Say’, expect to hear, see and be inspired by more of The Gleeman."

The acclaimed trio of Mikkel Ploug, Sissel Vera Pettersen, and Joachim Badenhorst is set to release their fourth studio album, Lento, on November 1, 2024, through the Klein label. Following their celebrated albums 'Equilibrium', 'Walking Voices', and 'Liquid Light', this new release further cements the group’s position as an innovative voice in contemporary music.

Lento offers an evocative blend of jazz, folk/world, classical, minimalism, and avant-garde influences, crafted through a dynamic mixture of free improvisation and original compositions. The trio’s unique synergy is evident in every track, pushing the boundaries of genre while maintaining an intimate and expressive core.

The trio comprises of the Norwegian vocalist and saxophonist Sissel Vera Pettersen, a multifaceted artist known for her collaborations with Chick Corea and Marilyn Mazur, Her contributions to Lento showcase her versatility, moving seamlessly between voice and saxophone with a fluidity that anchors the group’s explorative sound.
On guitar is Danish virtuoso Mikkel Ploug, who is renowned for his work with saxophonist Mark Turner and composer Bent Sørensen, Ploug's playing on Lento is both intricate and expansive. Completing the trio is the Belgian reed player Joachim Badenhorst, whose talents on the clarinet have earned him a spot in Downbeat Magazine’s "Rising Star" polls. Badenhorst is known for his work with Han Bennink Tony Malaby’s, Kris Davis and his own projects Carate Urio Orchestra and Zero Years Kid.
Having garnered praise from critics and fans alike for their previous albums, the trio continues to evolve and captivate. Lento is a testament to their ability to fuse disparate musical elements into a coherent, deeply moving whole. Expect meditative passages, explosive bursts of improvisation, and moments of pure musical dialogue that transcend traditional boundaries.

Roy Ayers' first album on the Polydor label inaugurates his music's evolution away from the more traditional jazz of his earlier Atlantic LPs toward the infectious, funk-inspired fusion. Although Ubiquity maintains one foot in Ayers' hard bop origins, it favors soulful grooves and sun-kissed textures that flirt openly with commercial tastes. AllMusic reviewer Jason Ankeny rated the album with **** out of five stars, stating that “Several cuts feature the male/female vocals that would become a hallmark of subsequent works by the same group, while mid-tempo instrumentals like ‘Pretty Brown Skin’ and ‘The Painted Desert’ feature evocatively cinematic arrangements and intriguing solos that unfurl like psychedelic freak flags. The crack supporting cast including bassist John Williams, keyboardist Harry Whitaker, and drummer Alphonso Mouzon proves equally effective on high-energy numbers like ‘Can You Dig It’ and the Nat Adderley-penned ‘Hummin' in the Sun,’ which point the way to the mind-expanding funk Ayers would perfect across the sessions to follow. An outstanding record.”

Originally released in 1982 on the band’s own label. Limited reissue on red/white splatter vinyl limited to 500 copies only.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

2024 Repress

This EP is the first instalment in a series of four compilation releases that aim to showcase fresh electronic talent in the UK Electro/Techno scene. Future Funked sees Phil and Matt combining styles to create an electro throw down with chunky analogue basslines. Six Number Test is slow 808 workout from Abstract Knights, the owners of London electronica label Colony productions. Vorticism; Quick, tight beats, Robiotic Rhythms and deep sub bass make up the basis of Vorticism.X Insert is Menacing filtered bass lines, crunchy electronic beats, beautiful reverberant melodies and soft classic style Toytronic pads.

In 1997 a CD compilation called Calambre Techno was released in Spain which included a track called Utopia. Its producers were two Spanish brothers who had been making electronic music since 1991 under the name INTRO. The track of the compilation was a remix of the original included in the Ep Intro - @Utopia from 1994. @UtopiaRemix is a simple but perfect Techno-Trance anthem, Retro-Psychedelic but futuristic, one of those timeless tracks that always sound original despite its 30 years. Now UFC is proud to re-issue this techno-trance gem on vinyl as its eighth release accompanied by remixes from current producers of different visions.

About the remixes; The duo The MFA give us their '94 On The Floor Remix', a perfect “hit” to hear at dawn where they perfectly combine IDM, Indie-House and Experimentalism. Spanish producer Promising/Youngster presents 'Electric Shock Remix', a titanic version of the original remix where powerful Electro rhythms collide with Experimental and Futuristic IDM.

In the case of Brassica we left the way free to experiment with the original remix and he gives us his 'Psytalo Remix', a perfect fusion of Techno, Breaks and Psychedelia, originality in its purest form as this producer has accustomed us to in all his productions. To close the Ep, we find 'FutureCosmicalAscension Mix' by R.I.P. Bestia, truly a different version that is difficult to include in a specific style where the main melody is progressively guided towards a state of euphoria.

Original Track Produced by Intro: Francisco & Nacho Sotomayor. Liscensed with permission of Absolute Ambient (ES) 1994

Ryan James Ford's Fuzz Gathering is a five-tracker that delves into the artist's personal exploration of sound and texture. Centered around the concept of ''fuzz gathering,'' Ford collects, analyses, and manipulates various sonic elements using innovative techniques and processes. Each track offers a fresh perspective of his sound, blending intricacies with experiments to create a unique auditory experience. Complementing the music is Ford's own artwork, which visually mirrors the EP's theme of exploring and deconstructing textures, adding another dimension to this creative expression.

DJ Woody returns with the 4th instalment of Scratch Sounds, the only scratch library collection made with 100% original recordings tailored specifically for turntablists and scratch DJ’s.

Scratch Sounds No 4 (Rock Box), this time concentrates on the sound of hard rock. It features an extensive collection of killer vocals, electric guitar riffs and solos, electric bass as well as a large selection of live drum grooves, perfect for beat juggling and scratch drumming.

So, whether it’s a DJ battle, freestyle scratch practice, beat-juggling, jamming with other DJ’s or musicians, creating scratch music or sampling the sounds for your beats. Scratch Sounds 4 is an absolute must for all discerning scratch heads.

100% original recordings made specifically for turntablists.
Extensive collection of skip proof vocals, electric guitar riffs and solos, electric bass and live drums grooves.

Great for beat juggling and scratch drumming.

Side one programmed at 133.33bpm and side two at 100bpm

2 lock groove hi hat phrases for building tracks and keeping time

Smokey grey vinyl in a full colour reverse board sleeve

2024 Repress

Errol and Alex Rita’s Touching Bass are proud to present Soon Come; a landmark compilation celebrating the talents of their now intercontinental musical community and an introduction to the wide-spanning sound and feeling of their growing label. 22 original tracks spread across double 12” vinyl and split between 'day' and 'night' moods, creating exciting connections between music for both the home and the eclectic sounds of their much-loved dancefloor.

Over the past six years, Touching Bass have steadily established themselves as one of London’s most important musical incubators. More than just a club night, concert series, NTS Radio mainstay and a label, Touching Bass has become something of a movement: a community meeting grounds for music lovers and some of the most exciting contemporary music-makers both in the capital and beyond.

The tracklist is a reflection of that, curated by TB’s Errol, Alex Rita and Sammseed over the course of two years. Among the list of contributors are Chicago/New York’s keiyaA, Stones Throw’s DJ Harrison, Ben Hauke, Ego Ella May, recent WARP signee Nala Sinephro, Melo-Zed, Hiatus Kaiyote’s Clever Austin and many more (see below for tracklist). Artwork for the project comes from Alex Rita, combining moments caught at Touching Bass’ own gatherings over the years.

Since launching properly in 2019, Touching Bass has quickly established itself as one of the UK’s most exciting new labels. The young imprint has championed critically respected and refreshingly innovative works with little genre restriction, receiving recognition from both musical and cultural bil. From the electrifying grooves of Danish trio, Athletic Progression, to the modern classical of South London’s CKTRL (featuring Duval Timothy).

Along the way, Errol and Alex have also been tapped up for collaborations/ commissions with some of the world’s most forward-thinking creatives and institutions; from the world-renowned White Cube gallery for Frieze Week 2021 and fashion designers Nicholas Daley and Azura Lovisa to film music supervision for Ronan McKenzie and Joy Yamasungie’s WATA and multi-award winning director, Jenn Nkiru’s (Beyonce, Kamasi Washington, Neneh Cherry) Black To Techno, the experimental documentary which premiered at Frieze Los Angeles and was nominated for ‘Best Short’ at the IDA Awards.

For newcomers, Soon Come acts as a vital introduction to the label’s wide-spanning DNA. For those already acquainted, it’s a glimpse at its exciting future.

Sly Dunbar and Robbie Shakespeare or Sly and Robbie as they are affectionately known are the drum and bass backbone of Reggae Music, they have played on, produced, invented, reinvented more records then many of their contemporaries put together.

Sly Dunbar born Lowell Charles Dunbar on 10 May 1952, Kingston, Jamaica, drummed his first session for Mr Lee Perry which included a Jamaican hit ,a track called 'Night Doctor', before moving on to the group Skin, Flesh & Bones who had a residency at Kingston's famous 'Tit for Tat' club. This band would evolve into the Channel One house band The Revolutionaries where Sly named after his fondness of the band Sly and the Family Stone would begin to play alongside a bass player who would become his long standing partner in music, namely one Robbie Shakespeare.

Robbie Shakespeare born 27 September 1953, Kingston, Jamaica, had worked his way through session bands including the legendary Aggrovators before uniting with Sly Dunbar in The Revolutionaries. Both musicians had worked with other respective bass / drum players including such figures as Lloyd Parks bass, Carlton 'Santa' Davis drums, but everything seemed to fall into place when they worked together.

They also both had a quest to push the boundaries of reggae music, which they would do throughout their careers, over many sessions to numerous to mention. But highlights would include the groundbreaking Mighty Diamonds 1976 set 'Right Time' with its fresh rockers rhythms which lead the way in the 1970's. Also their work with the bands Culture and Black Uhuru the later of which they toured extensively with, spreading the reggae vibes across Europe and America. Not to forget to mention their Taxi label / productions which are always inventitive whether its in the reggae field or outside where their playing / production skills are much in demand.

The third piece of this jigsaw is the mighty Mr Bunny 'Striker' Lee who brought these legends together. Born Edward O'Sullivan Lee 23 August 1941, he must be one of reggae's most underrated producers. Leading the way in the 1970's especially in the dub field and being one of the early exponents of a King Tubby remix ,which would see nearly all his 7'' releases carrying a Tubby reworking on its flip side. Bunny started his musical career in 1962 working for Duke Reid's Treasure Isle label and soon moved into the world of production gaining his first hit in 1967 with 'Musical Field' by Roy Shirley for the WIRL label. The 1970's was a very productive time for Bunny Lee and saw the launch of his LEE'S label which was producing hits in Jamaica. Not having a studio of his own and renting studio time from the existing establishments like Randy's Studio 17 and Channel One he had to have a crack team of session players to carry out this task, fast and efficiently. This happened firstly under the guise of THE AGGROVATORS see The Aggrovators dubbing it studio 1 style JRCD005 and then with the group of musicians THE REVOLUTIONARIES[ see The Revolutionaries at Channel 1 dub plate specials JRCDOO3]. It’s here in the latter of these groups that Bunny matched Sly and Robbie together for the first time and it’s this match made in heaven that these tracks on this release are culled from. Sessions that Bunny Lee produced with Sly and Robbie during this magical 70's period. These rare dubs are taken from the original master tapes, you may have heard the tune before but not these versions. So sit back and enjoy Reggae Musical History in the making....

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.

This obscure record showcases a selection of 10 tracks created between 1986 and 2002.
Remastered and reworked, this material provides a unique insight into SF aka Schielfried Frankenstein's journey as a performance artist and musician during that period. While Manuel Göttsching produced SF's first record (Ordal/1985), this release, proudly presented by Lustpoderosa, introduces a fresh perspective. Partly reworked and mixed by Ismael Zouaoui and mastered by @Sneaker at Tailout Studios, it is complemented by remixes from contemporary artists, bridging the gap between the past and present.

In den acht Jahren, seit sich Amyl and The Sniffers in Melbournes brodelnder Musikszene zusammengefunden haben, hat es die Band perfektioniert, Verspieltheit und rohe Wucht zu kombinieren. Mit den zwei bisher erschienenen, einhellig gefeierten Alben (dem selbstbetitelten Debüt von 2019 und "Comfort To Me" von 2021), haben Sängerin Amy Taylor, Gitarrist Declan Mehrtens, Bassist Gus Romer und Drummer Bryce Wilson ihren einzigartigen Stil etabliert. Seit dem Release von "Comfort To Me" haben sich die Perspektiven für die Band in jeder Hinsicht exponentiell erweitert. Größer, klarer, smarter, schärfer, das ist es, was nun auch das dritte Album der Band antreibt. "Cartoon Darkness" hat die Band zusammen mit Nick Launay im 606 Studio der Foo Fighters in Los Angeles aufgenommen, am gleichen Pult, an dem schon Fleetwood Macs "Rumours" und Nirvanas "Nevermind" entstanden. Es ist ein überraschend abwechslungsreiches Album und reicht von klassischem Punk über den strotzenden Glam der Single "U Should Not Be Doing That" bis zur ausgelassenen Balladenhaftigkeit von "Big Dreams". Auf "Cartoon Darkness" geht es um Krieg, die Klimakrise und künstliche Intelligenz, um Politik und das Gefühl, online eine Stimme zu haben, während wir am Ende doch einfach nur das Daten-Biest Big Tech speisen, unseren Gott der Gegenwart. Es geht darum, wie unsere Generation mit Informationen vollgestopft wird, wie wir wirken wie Erwachsene und dabei doch für immer Kinder bleiben, abgeschirmt wie in einem Kokon und dabei all die Ablenkungen verschlingend, die uns nicht einmal Wohlbefinden oder Freude bereiten, sondern einfach nur Taubheit. "Cartoon Darkness" rennt mit dem Kopf durch die Wand ins Unbekannte, in die heranziehende Ahnung einer Zukunft, ein kindliches Dunkel, das sich schrecklich anfühlt, aber noch gar nicht existiert - ein großer rauer Spaß.

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

* BCee returns to Spearhead Records with ‘These Are The Days’.
* These Are The Days see’s BCee collaborate with 13 different vocalists showcasing some of the finest and freshest the scene has to offer.
* Over the past 23 years, BCee has achieved over 100M streams, headlined the biggest clubs in the world such as Fabric, and through his label Spearhead Records has nurtured and presented a myriad of new talents to the world who’ve gone on to become some of the biggest names in this game: Hybrid Minds and Netsky to name a few. His music has garnered support from industry heavyweights like DJ Marky, Sub Focus, London Elektricity, Camo & Krooked, and Fred V.

* Brand new recording from the legendary Vivian Jones whose recording career stretches back to the mid-70s before relocating to the UK.

* Vivian Jones has worked with labels such as Freedom Sounds, Jah Shaka, Fashion and Black Solidarity, to name a few.

* Produced by Vinney Ellis, `Return Ticket’ is a one drop roots reggae rhythm backed with fine-tuned dub excursion.

Saxophonist and musical omnivore Benjamin Herman has been one of Holland’s most productive musicians of his generation for over three decades. Aside from thousands of gigs, Benjamin has released over 50 albums as a solo artist and as frontman of his groove-orientated ensemble New Cool Collective. His wonderfully diverse musical output includes straight-ahead jazz, Gypsy jazz, punk jazz, film scores, Afrobeat, Latin music and postmodern interpretations of pieces by Dutch composer Misha Mengelberg, as well as collaborations with vocalists, poets, pop stars, hip-hop artists, and instrumentalists from all over the world. The common thread is his quest for a recognizable, personal sound on the alto saxophone. As usual, his latest album finds him exploring new territory.

With his Bughouse project, he fulfills his long-standing desire to blend his old loves of punk and jazz. The latest Bughouse album, "Bughouse: The ERUS / ARC Sessions”, displays the versatility of Benjamin Herman's Bughouse, covering a wide range of styles from jazz-punk to noise, free jazz, and beyond.