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After a hiatus of a few years to concentrate on various studio projects, Steevio’s Mindtours label is back with a vinyl release over 2 volumes, pressed on bio-vinyl at the carbon neutral pressing plant Deepgrooves.

Dod yn ôl at fy nghoed (which is Welsh for ‘to return to my trees’ meaning to return to balanced state of mind) sees Steevio experimenting with deep, broken-beat bass techno awash with polymetric rhythms and jazz infused chord structures. Steevio’s musical approach has in recent years become more free-form, with loose mathematical frameworks, evading clear generic boundaries, and this release continues and expands on that theme.

All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 1 was all recorded during Covid lockdown and represents some the best material from jams from that period. All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 2 to be released 1 month after.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

There are albums that tap into the very heartbeats of rhythm, melody and intricate sound design, pulsating with every musical note. This is the case of 'Séptimo Sentido', the new album by Buenos Aires-based producer Seph.

Sebastián Galante aka Seph is no stranger to these realms; with almost two decades of experience under his belt, he has established himself as one of the leading talents in the Argentina techno scene and as one of the most intriguing minds in alternative Latin American electronic music. His productions have found a home in cutting edge labels such as Insurgentes –a platform led by the DJ and producer from Medellín (Colombia) Verraco, and sister label of TraTraTrax, which has reduced gaps between the Latin electronic scene and the rest of the globe– or his own label Aula Magna Records. He has also fostered collaborations, among which stands out his project Oscean alongside Andrés Zacco, a project that was recently released on the legendary Berlin label Tresor.

In his new album 'Séptimo Sentido', Seph exhibits superlative production skills and masterfully showcases the widest palette of the braindance sound, that intersection where countless genres and sub-styles can coexist. Here we hear echoes from the mid-90s that revive undeniable references of early IDM; but with a renewed form, under a fiercely contemporary new skin.

At the core of this intriguing album, we find an artist whose devotion to experimentation takes his rhythmic and melodic obsessions through vibrant magical-techno-urban landscapes, where radiant colors and mutating forms collide in a bold and imaginative sonic journey.

'Séptimo Sentido' hails from the prism of perception, beyond the five senses and a step further than instinct, hunting for mysterious resonances with the cosmos; like a space portal inviting us to float a handspan above the ground.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

Freerange welcomes back dutch producer Yannick Roberts for his follow up to his 2022 I Can’t Hide From Myself EP. That release gained club spins and chart support from the likes of Dave Lee, Jamie 3:26, Luke Solomon and Fred Everything and became a hit with lovers of deep, disco-influenced Detroit house sounds as championed by fellow countrymen such as Dam Swindle, Fouk and Nachtbraker.

Opening track Grace sets the tone with a chunky groover guaranteed to set the right mood on the dance floor. Next up Yannick picks up the pace with Anyone (This Late At Night Mix) which uses syncopated synth stabs and a simple two note bassline to create peak time energy levels.

Amsterdam Nights keeps things bubbling along nicely with fat 909 beats, piano stabs and intense vocal samples while the EP closes out in fine fashion with All For You. Four tracks which perfectly demonstrate Yannick’s knack for producing quality club tunes.

Pleasure Planet’s kaleidoscopic debut album has been a long time coming, but good things come to those who wait. Developed over years of late-night studio improvisations, ‘Pleasure Planet’ is an affectionate and colorful patchwork of the New York City-based trio’s knotted influences that’s suspended between the rave and the chill-out room, weaving glistening pads and chunky basslines into vocal earworms and warm, saturated rhythmic cycles. Bandmates Andrew Potter, Kim Ann Foxman and Brian Hersey enter into a lysergic dialog with their discrete personal musical histories, drawing inspiration from vintage EBM, ambient music and heady early ’90s West Coast rave sounds and launching these classic elements into a transcendent new sonic universe.

Celebrated DJ and producer Foxman was a lead singer of Hercules and Love Affair when she first ran into DC rave veteran Potter, and the two rapidly realized their musical interests overlapped. So when Potter was recording with his studiomate Hersey, a NYC underground club scene mainstay, and they needed to bring in a vocalist, the choice was simple. Working together was a refreshing, freeing experience for the three seasoned artists, and the more they experimented, the closer they became; Foxman ended up moving into the studio, and Pleasure Planet was manifested into existence. “We’re like family,” says Potter. “We’re always on the same page – we couldn’t make this music solo.”

For Foxman, the open-ended jam sessions provided her with a chance to try something new, a few steps from the dancefloor-forward DJ tracks she’s best known for producing. And as the trio pooled their adolescent rave memories, reflecting on them with more mature ears, they began to develop the signature sound that was first heard on the Throne Of Blood-released ‘Animals’ 12″. Pleasure Planet aren’t trying to re-capture the past, but suggest a poetic contemplation that layers their recollections and musical obsessions into a hypnotic sci-fi dream. Harnessing a self-described “Aladdin’s cave” of analog and digital gear that help galvanize the timeline, they bridge the gap between avant-pop and icy bleep techno, curving suggestive words through lattices of tightly-engineered electronics.

On ‘Endless’, Foxman’s voice is echoed into a glistening haze that hovers around ethereal pads and tense, electroid pulses. Slow-moving and evocative, it’s a track that capture the open endedness of post-rave euphoria, touching the afterparty but moving far beyond the material world. She’s more recognizable on ‘Alien’, the album’s most upfront track, singing in a glassy, upper-register coo over urgent bass bumps, taut guitars and florid electronic atmospheres. “Are you an alien, or are you an angel?” she asks, fractalizing the borders between genres. And the band’s sense of cosmic togetherness bubbles to the surface on ‘Saved by the Bells’, a meditative after-hours experiment that diminishes the pulsing beats for a moment to bring out a spectrum of interconnected, serpentine melodies.

Modular bleeps and echoing percussion anchor the swooning ‘Planet Love’, one of Pleasure Planet’s most recent compositions and one of the album’s most outwardly psychedelic cuts, while the urgent and anthemic ‘Go With Madness’ steps back towards the main stage, evaporating Foxman’s memorable calls into a thumping procession of analog drums and squelchy, acidic bass tweaks. But they save the best for last, tugging at the heartstrings with ‘Remember (In Dreams)’, a giddy spiral of blipping synth arpeggios and haunting, reverberated chorals. It’s the perfect way to conclude an album that cryptically gestures towards the vulnerability of friendship, celebrating the shared experiences that result in some of the most meaningful memories of all.

First time reissue of “Quiero…” by Peruvian-Cuban singer and composer Króffer Jiménez, leader of Poppy y sus Pirañas, one of the key figures in Peruvian tropical music.Recorded in 1969 but not released until 1972, this album comprises guarachas and cumbias that were ahead of their time, mostly original compositions. Unfortunately the album went almost unnoticed back in the day, becoming a sought-after collector’s item in recent times. Quintets such as Compay Quinto, Pedro Miguel y sus Maracaibos and Los Totos were the stars of the Peruvian tropical scene at that time, winning over listeners with their powerful rhythm section and fast-paced melodies. In contrast, the dozen guarachas and cumbias on "Quiero..." are slower and more relaxed, where the elegant intonation displays Króffer’s Cuban roots, with the Pirañas contributing during the more festive moments. The cumbia 'Mala mujer' and the guarachas 'Amar en el mar' and 'El sortilegio' were ahead of their time, as the singing style adopted would only become fashionable from 1971 onwards. 180g vinyl.

Available for the first time on vinyl, Whitney Houston's The Preacher's Wife: Original Soundtrack Album is the best-selling gospel album of all time. Released on November 26, 1996, the album features songs performed and produced by Houston, who also starred in the film. From the moment you press play, your heart will move to soul-stirring vocals like the hauntingly beautiful "I Believe In You and Me," and the spiritual "Joy To The World," "I Love The Lord," and "Step By Step." The album features guest artists including Shirley Caesar, the Georgia Mass Choir, and Houston's mother, the legendary Cissy Houston. This 2LP vinyl features a new essay by producer Mervyn Warren and fan testimonials of love.

Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

This 10th Anniversary Edition will be one pressing and then gone, the album is remastered, pressed on Transparent Red Vinyl, features new sleeve art by Cold War Steve, comes with a fanzine and a flexi disc featuring an unreleased track.

London residing, yet remaining very much Dublin's son Glimmerman returns for his third outing on First Second Label with Temple Sublet. Four across the board soundscapes into bass, 2-step and wub heavy anthems tipped off with a haunting verse from London based poet and lyricist Older Brother.

Extra Soul Perception proudly unveils a new collaboration between two of the most captivating artists from the future soul and R&B scene. "Undercover Lover" is the culmination of three years of an organic creative partnership between Jamma-Dee and Qendresa - one that has manifested itself just in time to soundtrack summer in LA and London; their respective homes.

Following Jamma-Dee's celebrated debut album, "Perceptions," and Qendresa's recent midnight soul bomb, "2 Much", "Undercover Lover" is a highly anticipated release that emerges as an effortlessly smooth summer anthem.

The genesis of "Undercover Lover" was Jamma-Dee's irresistibly heavy beat, which underpins an intricate mirage of interlocking rhythms and textures, with the eclecticism that has cemented the producer as a mainstay of the West Coast soul-funk scene. Qendresa's songwriting prowess shines through in seamless hooks and vocal melodies that flow effortlessly over the production with bold and uncompromising energy. Gary Gritness's live bassline, introduced during an impromptu studio session, injects a deep groove into the track.

At the engineering helm, K15's expertise further elevates the record with a resonating richness and vitality. An instrumental version on the B-side allows listeners to experience the production and bassline on a deeper level.

The resulting sound is a collaborative effort that transcends borders and genres, delivering a record that is as heartfelt as it is infectious.

"Undercover Lover" stands as a testament to the power of collaboration and creativity, embodyingExtra Soul Perception's mission to facilitate transformative musical exchanges between artists worldwide.

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About Extra Soul Perception:

Extra Soul Perception is an artist development program that operates as a label, music agency, event curator, and producer of international musical residencies. With a mission to facilitate artistic collaboration across borders, Extra Soul Perception has garnered acclaim for its innovative approach to fostering creativity and diversity within the music industry.

The superb Philoxenia Records, which is spearheaded by Luigi Di Venere and Neu Verboten, here unveils a coveted addition to its collection with the the super limited Last Place On Earth EP from Vilnius-based Dovydas Platakis aka Jokios Kulturos. It's a cinematic work that immerses listeners in a dystopian realm that blends avant-garde tones with manga-inspired cyberpunk vibes. Each track serves as a gateway to a world where technological progress intertwines with societal decline, which is of course often the focus of classic cyberpunk literature. Di Venere and Verboten also combine under their Affekt Unit alias to deliver captivating remixes and bring trance and tribal techno elements to the party.

DJ Mes brings the funk on this new outing on Guesthouse. It draws on samples from some of soulful house's most notable big tunes starting with 'Out of Order' which rolls on deep drums with nice smooth pads and summery vocals adding the charm. 'LGMH' rides on deeper, bigger bass and is a nice loopy and hypnotic jam with classic house vibes and a superb falsetto hooking you in. 'No Memory' is another fat-bottomed and feel-good house groove that rolls deep 'Werkin' Gurl' flips the script with more attitude in the vocals and header drums for some peak time fun but with no less emotion.

"The Remedy," is I G Culture's latest album under Likwid Continutal Space Motion, Culture draws parallels between the complex world of fungi and London's Underground dance music scene. Both are intricate networks that thrive beneath the surface, connecting diverse elements and influencing one another. The London dance music scene, like fungi, encompasses a variety of styles and genres, from drum and bass to Garage Dance Subcultures may go unnoticed to the casual observer but are musical corner stones in our society. Dance floors and clubs serve as spaces for communal healing, allowing people to let go of daily stresses and connect through music and dance. I G Culture's "The Remedy" celebrates this vibrant underground culture and highlights the interconnectedness of all musical styles. Through his innovative production and thematic depth, he underscores the transformative power of dance music, emphasizing its role in promoting well-being and unity. The idea of Fungi also is expressed in the artwork by Amsterdams 'Machine' with IG's direction, who used fungi in an original collage revealing a secret world.

Les Disques Bongo Joe are proud to be home of the new volume of DJ soFa's well known curation work Elsewhere series with Elsewhere CC! This ninth exploration of our beloved Bruxelles based cratedigger and producer (Mameen 3, Nyati Mayi & The astral Synth Transmitters, ...) is an ode to summer and groove!

The ninth edition in the Elsewhere series is a real digger’s paradise of tropical gems, from Trinidad to Brazil, Poland, Dominica, and beyond. The compilation is an eclecticmix of outernational, tropical-wave, Calypso, multi-rhythmic percussive beats, lo-fi disco jams, and other such styles that lie somewhere in that magical in-between zone. Compiled by Brussels-based DJ, tastemaker and producer soFa, Elsewhere Vol.9 CC is a perfect collection of Balearic, good-vibe, sunshine rarities, to soundtrack a cocktail session on a reclusive, tropical beach, featuring rare tunes and some of the artist’s own unique productions and collaborations.

Modern day selector, 7” detective, international cratedigger, and self-styled musical activist DJ soFa, aka. soFa Elsewhere, is renowned for his borderless approach to curation. Adapting his unconventional and radical approach to DJing to his acclaimed compilation series, soFa’s goal has always been to expand horizons, highlight scenes, and tell stories. And herein lies the beauty behind the latest edition in the Elsewhere series. Behind every great record, is an even bigger story, and Elsewhere CC, has plenty of them...

The only album by Descendants Of Mike and Phoebe, a family band made up of Bill Lee and his brothers, who are also known as the father of Spike Lee, the director of films such as 'Crooklyn' and 'Do The Right Thing'. A Sprit Speaks. The great song 'Coltrane' by Bill Lee, also famous for his performance of Clifford Jordan, is a miraculous balance of dignified and beautiful piano tones and a heavy waltz beat. M3 'Chick Chick', which seems to have been dedicated to Chick Corea, is an up-tempo, fast-moving song. From there to the last track, 'Too Little, Too Late', a beautiful, tear-jerking piece that conveys the depth and greatness of 70s spiritual jazz!

Roy Porter was approaching 50 years of age at the time when he released his first album, breaking a long period of silence and aiming for a comeback. The album is a hot one, with a superb sense of rhythm and vigorous drumming that clearly conveys his ambitious attitude. It is also his most expensive album, with the original selling for over $1000. The album includes 'Jessica', one of his best-known songs, which he wrote for his girlfriend, a long jazz-funk song with a melody of indescribable melancholy and colour, 'Funky Twitch', with its percussive beat and lush horns & guitar, and 'Wave', which quotes a phrase from Jobim's classic song 'Wave'. The LP comes on clear yellow vinyl, plus a 7" featuring a Kenny Dope re-edit of 'Jessica'!

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

A love story tracking list with a true Free Party sound, a soul in the music. Or a music in the soul. A pure sound from nowhere.

Superb EP, playing 45 full sides, loud volume.
Here you'll find a regular banger from Goog-style and a very special Chicago influenced tune... this explains the label's colors... Chicago colors !

ENJOY !

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

Wendel Harrison, whose style evolved with the times from "Tribe" to "Wenha," discovered a male soul singer in his hometown of Detroit, William Odell Hughes. This is the first album of William Odell Hughes (1981), a male soul singer discovered by Wendel Harrison in his hometown of Detroit, who evolved his style with the times from "Wenha" to "Wenha". The vocals are extended and sung with great grace from the high tones to the low back, and the mellow soul number "Where Am I" (M3) to the sticky 80's funk "Super-Funk-A-Ga-La-Listic-Freak" (M4) featuring synths, "Super-Funk-A-Ga-La-Listic-Freak" (M5), "Super-Funk-A-Ga-La-Listic-Freak" (M6), and "Super-Funk-A-Ga-La-Listic-Freak" (M7). (M4), and the disco-boogie killer tune "Cruisin'" (M1), the highlight of the album, all of them are full of floor-like sounds that concentrate the best parts of the early 80's! Of course, "Wendel Harrison" also provides full support as an executive producer and contributes a wide range of parts from songwriting to saxophone, flute, and chorus. This mega-rare album has been matured over 40 years and is finally being reissued for the first time in the world!

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

Barbara Lynn is a singer, songwriter and musician from a golden era of soul. While she is best known commercially for 'You'll Lose A Good Thing' (1962) there is so much more to her repertoire across ten albums (including 'You're Losing Me' from her Atlantic years classic album 'Here Is Barbara Lynn') and the 7' single 'Movin' On A Groove' remains her most sought after. It's a modern soul indemand anthem, first released in 1976, original copies have exchanged hands for £300. And the now the funkier flip side 'Disco Music' has become indemand in it's own right, this 7' reuniting the two sides as a very strong 45 release for DJs and collectors alike.

2024 Re-Release
Newly formed archival label Fresh Hold presents one of Australia’s most mysterious jazz long players - Singing Dust, in collaboration with Efficient Space. Almost bound for obscurity from its inception, the eponymous creation of Queensland-based jazz pianist Robert Welsh was originally issued in 1986 on Melbourne independent label Cleopatra Records. Rich in compositional sophistication and expressive performance, Singing Dust resembles a unique fusion of Indian devotional song, the jazz piano styles of Bill Evans and Keith Jarrett, English folk and Debussey’s tonal impressions, bearing little similarity to the dominant commercial and subcultural music of its time.

Representing a culmination of Welsh’s influences in and outside of music, the dynamic collection of seven compositions accompany the Ghazal devotional poems translated by Australian poet Francis Brabazon. While Singing Dust sits loosely within the spheres of exploration that many jazz players took into world fusion in the '80s, it stands alone in its bright searing light of truth, love and austerity.

A true work of dedication and posterity that will appeal to many serious music lovers, the album has finally been transferred and remastered from original tapes by Dan Elleson, superseding the imperfect 1986 pressing and fully realising Welsh’s expansive vision.

BALTHVS is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is BALTHVS's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'MACROCOSM'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

This is the memorable debut album by Wendell Harrison, the founder of TRIBE, under his solo name, and is also known as the first version of "Message From The Tribe", which was released the previous year as the iconic masterpiece "TRIBE". The first version of "Message From The Tribe" (a.k.a. "Cliff Jacket"), which was released the previous year, is an updated version of the A-side that Wendell Harrison steered! The opening "Mary Had An Abortion" (M1) and "Consciousness" (M5), which quickly builds tension with its poetry reading and freaky sound that conveys a strong message in a deep voice, and the ferocious "Soulful Soul" by a young Wendell Harrison. The soulful "Vol II Angry Young Man Part I - Part II" (M3-4) is overwhelmed by the blows of the young Wendell Harrison, "Rebirth" (M6) is shaken by the heart-string-tugging horns against a tranquil soundscape, and "Mellow & Spiritual" (M7) is a mellow and spiritual masterpiece. Where Am I" (M2), a mellow and spiritual song loved by many DJs and diggers! All tracks have been newly mastered and reissued in the original 1st pressing jacket with full-size printed visuals!

The group led by North Carolina-based singer/songwriter/guitarist Ron Henderson released this extremely rare album on the Los Angeles-based Chelsea label in 1976 -now priced at over 150,000 yen!- is being reissued on LP for the second time! As with the 2020 P Vine reissue, which has already skyrocketed in price, the cover is in the original Chelsea vinyl specification and the contents are in the reissue (probably boot) specification released in the 1980s with two additional singles from 1983, and also in 180g weight vinyl. Ron's singing is wonderful, with a hard and soft range from mellow medium, modern to crossover soul, ballads and funky, sometimes interwoven with falsetto! A great album that will make soul fans incontinent and weep!

With a dirty Techno trip from Empatysm for a start, this EP quickly turns into some more Tribe olschool tracks from Zetarley23.
A wicked oldschool feeling with full soul !

Rub A Dub style classic from 1982.. so UK this one! Ranking Ann's wicked toast siting so well on the bonkers Mad Professor productions. Features studio contributions from a whole host of legends (Horsemouth, Jah Shaka, Garnett Cross & Audrey Donnegan to name a few)... TIP!

The quality of the songs, including IMPRESSIONS, is also endorsed by the songs provided to CURTIS MAYFIELD and CHI-LITES, and the euphoric upsurge from the light guitar cutting to the percussive beats will get the floor going at once! Free soul full of killer songs including "DISCO CITY"!

Meditation Blue" was produced in Minneapolis in 1977 by Ernie Story, an SSW & producer who provided songs for The Impressions, The Chi-Lites, Curtis Mayfield, and many others. The simple jacket of this private pressing is very tasteful, but the high quality sound of this album has always been sought after! The album features the superb free soul "DISCO CITY" (A5) with its light cutting guitar and percussive groove, the instrumental number "The E Groove" (B2). The album is now finally being reissued and includes many gems such as "Chain Gang" (A4), a song with soulful vocals and a groovy band sound!

Atlantic records impresario Jerry Wexler had many strings to his bow, but undoubtedly his greatest stroke of genius was leading Aretha towards the Fame Studios in 1967 to conduct her first sessions for the label. A lady with many quite uneven Columbia albums to her name would turn the world of soul music upside down and reveal the Queen of Soul to the world. The music created was both harrowing and spine-chilling in equal measure, leaving everyone in its radius in a state of soulful euphoria.

“Can” was recorded during the ‘Hey Now Hey’ LA album sessions circa 1972, with Quincy Jones at the helm, and is a scintillating slow burner of exquisite beauty.
“I’m Trying” is a glorious 1969/70 outtake from her ‘Spirit in the Dark’ LP, cut at Criteria with Wexler and the MSS boys in tow.
A friend of mine recently alluded that you sometimes don’t realise the true greatness of a track until it is embossed in 7” vinyl. So true!

There are two versions of Perennial: the adventurous art-punk modernists, layering British Invasion pop, 60s soul, 90s Dischord post-hardcore, electronic music, and free-jazz, and the live three-piece whose bombastic 20 minute sets have become a “must-see” in the New England music scene. What started in 2015 as an all-encompassing art project has since grown into an honest-to-goodness word-of-mouth phenomenon, with over 300 shows played in the last six years (including shows with Guerilla Toss, Bully, Calvin Johnson, Jon Spencer, Sheer Mag, Teenage Halloween, and Downtown Boys) and multiple pressings of both of their full-length records. Perennial formed the band they always wanted to hear, and when they play, they're the band they always wanted to see. Perennial’s breakthrough 2022 LP, In The Midnight Hour, was their first time working with producer Chris Teti (The World Is A Beautiful Place & I Am No Longer Afraid To Die), a collaboration that garnered rave reviews from BrooklynVegan, Under The Radar, Post-Trash, Pop Matters, NPR Music and more, and marked a new creative benchmark. Feeling inspired, the band once again worked with Teti on 2023’s 7” EP The Leaves Of Autumn Symmetry, which earned more high praise from Stereogum, Paste, Consequence, Alternative Press, and Bandcamp Daily. Their latest release is the adventurous, experimental mod punk LP Art History, available June 7 via Ernest Jenning Record Co. and Safe Suburban Home.

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage