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Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Recorded across three sessions over the last three years, ‘Behold’ is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks.
Paris Richens lets the bass playfully roam. Carolyn Hawkins tumbles feeling into the drum rumble. Stella Rennex’s guitar soars alongside her saxophone work, whilst a sprightly keyboard is tenderly attended by Rebecca Liston. Everyone sings amidst this lush canopy.
Patience, environmental cues and internal signals are integral for a garden to flourish. The same can be said of the conditions necessary for ‘Behold’ to emerge. It is an album gleeful in reassessment, changed priorities and anticipation. The roots are deeply anchored to mystery, drinking up a hidden wonderment that lies within. ‘Monument’ is a twist of melody and mania, “For what am I? But a channel of light” they attest amongst the whoops and hollers. ‘The Babble’ sounds like Ray Davies playing Wordle for enlightenment. In fact most of these songs are pointing the way towards growth and understanding. ‘Turn to Love’ is mesmeric and timeless, thoroughly serene and perfectly judged. Parsnip write songs as a form of communion with the intangible in our increasingly delusory world, but there is always a gentle reminder; don’t take anything too seriously! “My head is gonna split in two, fix it with flour and glue” they demand on ultimate bop ‘Papier-Mâché’, this juxtaposition of mature resolve with childlike astonishment packs a more powerful punch.
On ‘Behold’, Parsnip explore both the inner and outer realms of consciousness with quick wits and some seriously quality jangle and jolt. ‘The Light’ is a whip smart workout, sprouting naturally from the propulsive nature of their debut album ‘When the Tree Bears Fruit’ (2019). ‘Placeholder’ is also devastatingly honest and channels The Field Mice as it buries itself like an arrow into your heart.
Anti Fade Records and Upset The Rhythm proudly present Parsnip’s first album in five years, ‘Behold’. Available in all good record stores April 26th.

* The Blackstones were formed by Leon Leiffer in 1974. Since the initial group formation, there have been several line up changes, currently the group consists of: Leon Leiffer, Tony Mahoney, Jr. Bailey, and they have recently been joined by A.J. Franklin (Chosen Few, Federals). On tours they have supported Curtis Mayfield and the Impressions, Rufus Thomas, Dennis Brown, Owen Grey, John Holt, Alton Ellis and many more Soul / Reggae greats.

Over the years they have worked with many notable Jamaican producers, Count Shelly, Fatman, Phill Pratt, Lloyd Charmers, Lindel Lewis, Tony “Ruff Cut” Phillips, Winston Curtis, Jah Larry, Tony Owens, and the late great Bunny ‘Striker’ Lee and the legendary, Clement "Sir Coxsone" Dodd, at Studio One in JA.

This release features two rootical vocal sides of their consistent repertoire. The 4 track EP features a re-work of “Selection Train” (Orig,”Selected Few”-JA) and “Hell & Heaven” (Orig-Lloyd Clarke-JA). The vocal tracks are replete with Instrumental Versions from Alvin Davis (Horns / Steven 'Marley' Wright (Guitar) / Asha B (Perc/Congos)..

First issued in 1961 on Columbia’s early music venture Colpix, Forbidden Fruit is widely acknowledged as the best of Nina Simone’s early releases. Producer Cal Lampley choose to cast her in varied settings, blending a rendition of Oscar Brown’s ‘Rags And Old Iron’ with a unique take of Bessie Smith’s ‘Gin House Blues,’ contrasting with Billie Holiday’s ‘No Good Man’ and ‘I’ll Look Around,’ which Simone shifts to her own image. Her backing trio aim for the understated, the rhythm section leaving ample room for Simone’s appealing piano lines, nicely complimented by Al Shackman’s guitar. An excellent set from Miss Simone – grab it!

UK SKA CLASSIC ORIGINALLY ON THE UNICORN LABEL FROM 1988. FINALLY REISSUED THANKS TO MAD BUTCHER!

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

"The 40th Anniversary expanded edition of Billy Idol’s iconic Rebel Yell album. Includes the smash hits “Eyes Without a Face,” Flesh for Fantasy” and “Rebel Yell.”

Deluxe reissue features 13 bonus tracks, including the previously unreleased “Best Way Out of Here” and cover of “Love Don’t Live Here Anymore” from the original sessions, plus original demos and the Poolside remix of “Eyes Without a Face.”"

Cardiff's Buzzard Buzzard Buzzard returns with Skinwalker - a garage- rock romp and follow-up to their Welsh Music Prize nominated debut album Backhand Deals.

Taking raw rock 'n' roll cues from tracks frontman Thomas Rees produced for emerging talent - such as Panic Shack, Do Nothing and The Bug Club - and teased by recently released singles "Chew" and "Therapy", the record marks the band's move towards a heavier and disquieting sound, inspired by Rees' revitalised devotion to acts such as Ty Segall, Thee Oh Sees and Black Sabbath.

Falling somewhere between Soulside, Ignition, and The Chocolate Watchband, Vile Cherubs were a short-lived and puzzling band that for a brief window in 1986-88 managed to captivate, confuse, and annoy the D.C. punk scene. Consisting of high school classmates Tim Green, Jesse Quitlsund, and Ben Wides—along with Green’s childhood friend Seth Lorinczi—the Vile Cherubs were more focused on the then-forgotten sounds of ‘60s garage rock and psychedelia than on Minor Threat. Being minors themselves, they likely would’ve remained trapped in the school-dance circuit were it not for Geoff Turner (Gray Matter / 3), who took an interest in the band and recorded their two demos. That first tape caught the ear of d.c. space booker Cynthia Connolly, who despite her initial skepticism paired them with Didjits, Cynics, and other noteworthy bands. Rumors of a potential Dischord album built all through 1987, ending with mysterious suddenness after label co-owner Jeff Nelson dropped in on a rehearsal to find a miasma of LSD, alcohol, feedback, and vomit. Though the band released a posthumous LP in 1988, the original Geoff Turner demos explain why the D.C. scene briefly lost its shit over these teen ne’er-do-wells. Lovingly and exhaustively resuscitated by audio maestro Tim Green from the original multitrack tapes, “Lysergic Lamentations” is the Vile Cherubs at the height of their brief existence.

Hardtek Rephlex style, Electronik fast Breakz, Electronika, Spleen Industrial Ambient...

Ragga Jungle from Canada.

Two fabulous funky tracks originally released on the award winning album Goma-Laca – Afrobrasilidades in 78 rpm which updated Brazilian Music originally recorded on 78's in the 1920s to the 1950s. With musical direction and arrangements by Letieres Leite, the vocal pyrotechnics of Russo Passapusso and Juçara Marçal masterfully accompanied by double bassist Marcos Paiva, Hercules Gomes on piano, Sergio Machado on drums and percussion master Gabi Guedes. Under the direction of Letieres, the group created with the singers arrangements of jazzy tones over Afro-Bahian rhythms, and everything was recorded live at Estúdio Traquitana, in São Paulo.

The version of Cala Menino Boca best known from the version by Joao Donato that's been doing the Dancefloor round since the early Acid Jazz days here gets a funky and rhodes led percussive update and of course the traditional tune "Ogum" gets a soulful jazz run through, folky funk like you've never heard before. This is yet another welcome addition to the Jazz Room canon, watch those dancefloors light up when this wax spins!

Ragga Jungle superb old school release... Last stock baught from the label.

Plates are totally mint and never played !!

Well done !

Stock Found / Direct from the Label

Woody mc Bride is back with ARU and some french and spannish artists inna Acid Techno preformance... Notice Floxytek changed his name into a "Logic Oscar" for this particular Acidtek projekt.

4 bangers from 240 to 40000 BPM ^^
First of all a 1312 dedicade... followed by a regular Sucre Rose killer style...
The flip is very theatral, with a demoniac organ hardcore and the EP brings a massive speedcore finish supported by some mystical vocals.

Brainwave Research Center returns with their 3rd Electronic music LP. Their DIY approach to creating music has forged a unique sound that is not experimental music, but music born out of experimentations with analog synthesizers. Feel Free is the third installment of their first four part series and captures the feelings and emotions of a summer season.

The A-side begins with a soundtrack to a daydream; imagining the life of a earthworm. Followed by a teeth-grinding drive through the grime of Brooklyn streets in Interceptor iii. Side A finishes out with that summer euphoria that comes from laying in the grass under the sun through dusk and watching the moon rise.

The B-side begins in a startling manner; an attempt to capture the feeling of falling in your dreams. The music continues down a darker path that reminds us of their second LP, Mosaic, with electronic experiments mixed with acoustic elements. The side concludes with two songs that capture the nostalgic feelings of summer.

Feel Free offers you a glimpse into the musings of everyday life for brainwave research center. Recommended if you like analog / digital synthesizers, sequencers, hand-played melodies, simplistic clock-like rhythms

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

K.Nibal never stopped... they kept on with digital since a few years... But it's a celebration to get at least a new wax from the crew...

Amiga-core sound style get melted with hardware and create a new sound with, a new vibe... This KBAL Sound System release definitely bring what this legendary label deserves !!

WAX IS BACK !

Acid tunes from FKY vs Woody Mc Bride. Classic acidcore style... Mp3 are 45RPM Minus 8, becasue Old School never die :) !!!

RECUT & REPRESS ! An excellent IXY records, back from year 2000. Good sound and good tunes. What more ?

Jimpster dons his Franc Spangler cap and joins forces with up and coming London-based producer and DJ Hudson’s Choice for a four track EP entitled Myatts Field. Touching on trippy slo-mo electronic grooves, tropical moods and percussive house jams it brings a more experimental and left field sound to Delusions Of Grandeur which we’re sure you’re going to love!

Opening track AcidMan sets the tone of the EP with a bubbling 303 line taking centre stage while pitched down vocals add a hint of menace, heightening the psychedelic mood. Dubby FX and analogue synth lines drift in and out of focus and give a live jam feel to the arrangement reminding us of something that might grace the decks of A Love From Outer Space. Heavily Percussed continues offering up a crazy percussion tool loaded with wonky cross rhythms, glitchy found sounds and a hypnotic synth sequence for good measure.
Flip over for Myatts Field, another slower tempo mutant discoid house groove which takes us on a deep trip into the jungle. Echoing sax and hazy vocals transport us to another world where Weather Report experimented with rolling four on the floor grooves and spacious dub.

Closing out the EP Roots picks up the pace with another percussion-heavy slice of tropical sounds which doffs a cap to masters such as Gregory and Osunlade. Steel pan melodic lines intersperse with chiming synth sequences making for an unusual yet hooky club track which will lock the dancers into its incessant groove.

Old school collabs from Gabba Core Team !
Speedcore hardcore with a early gabba feeling.

Dancefloor !!!

Printed Sleeve / 200 copies pressed

Brilliant new Multiplan from Enko !
A massive album bringing collab's with Mis Gato and Ling-ling !

Mastering: Van der Wiese
Graphic Design: Collision
Logo Artwork: Finnian

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

Long Gone (Are The Old Traditions) is a label out of London.

A label focused on DIY electronics, post punk, dub and techno from now and before.

The first release is from West London artist, singer and songwriter Tutu Ta. A mini LP of out there, dubbed up, post punk mutations meeting old sounding industrial electronics following from his highly acclaimed debut album last year.

Its already seen the light of day on soundsystems across the city and further afield as well as stations like NTS, Rinse & Tom Ravenscroft's BBC 6 New Music Fix.

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

Repress!

‘Hardcore Jollies’ was Funkadelic’s ninth studio album and their debut on Warner Bros Records. Released in October 1976 and dedicated to “the guitar players of the world”, it showed Funkadelic was the heaviest black rock band since Jimi Hendrix’s Band Of Gypsies (even featuring Buddy Miles on one track). With lead guitarists Michael Hampton and Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell’s keyboard wizardry and many more, the album was helmed by the genius of George Clinton. Reaching no.12 on the US R&B chart, the album spawned singles ‘Comin’ Round The Mountain’ (US R&B No.54) and ‘Smokey’ (US R&B No.96) and a live remake of 1973’s ‘Cosmic Slop’ from the album of the same name. Recorded during rehearsals for 1976’s P-Funk Earth Tour, this version features a vocal introduction dropped from the 1973 studio cut. Over 45 years since its original release, ‘Hardcore Jollies’ is among Funkadelic and George Clinton’s best-ever albums and remains a masterful example of their creative genius. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram coloured vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Hybrid sounds are offered up by Sunderland born producer Dharma on his Lone Romantic debut. His ‘Clear Glass’ EP lands on Maceo Plex’s left of centre imprint, offering up four tracks of futuristic garage and electro-tinged sounds.

Having previously released on esteemed labels such as R&S Records, Man Power’s Me Me Me imprint and Permanent Vacation, Dharma readies a bustling EP for Lone Romantic that showcases the young producer’s deft capabilities at working through various shades and rhythms with ease.

From the shuffling beats and choppy vox of EP opener ‘Clear Glass’, to the low-slung hip hop meets IDM influences of ‘Work Over’, Dharma serves up a highly accomplished release that effortlessly traverses genres.

‘Clear Glass’ EP by Dharma is available on Lone Romantic from 26th April 2024.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

At the occasion of the Monsters of Mashup 2017 tour, and after a looong silence, Kriss records takes it over and comes back louder and CORE than ever... First tune from Bong-Ra goes straight Ragga breakcore... While Shiptmat develop his Hardcore skillz and EndUser join back his first loves on Sonic Terror ! And Skull Vomit ? ah..bah Euhhhhhrghhhhh !!!! Yeah !!

First EP from the RODF Sound System, based in center Japan.

A side brings a superb live : full of ideas and good surprises, kick changes, hypnotic sparks and breakbeats supports. Fresh and absolutly not dark ! Wicked !!

The flip opens with a deep mental Yogi bassline and a sweet Tribe pumpin kick...
The second tune is an experimental Tribe track, melting the SPAZ californian's oldschool ambiances to the KGB01 69DB Hit Hat... Xp oldschool i'd say ??

A japaneese production for the newskool underground never die fever !

Enjoy !

New Year, same old Omar S - turning out the top quality tunes on a regular basis, all with his own unique sonic imprint but always with a fresh twist each time. This first outing of 2024 on his own FXHE opens up with 'Life Force' which pairs Smith's unique drum sounds - brushed metal, scruffy, raw - with his super sweet synths that always bring the warmth and soul. 'All The Little Hand's Around' is another metallic sound tech house cut with celebratory chord loops up top and well-treated samples, then 'Evil J' shuts down with rasping basslines and glistening 80s keys. Another fine 12" from the Detroit don.

We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

"In partnership with Rob Zombie and Lionsgate, Waxwork Records is thrilled to present The Words & Music of HOUSE OF 1000 CORPSES! From the mind of Rob Zombie, this unique double album features a first-of-its-kind movie soundtrack experience by presenting the complete audio to the iconic 2003 feature film, HOUSE OF 1000 CORPSES as an immersive deluxe double LP set.

Pushing the boundaries and exploring new and inventive ways of collaborating, Rob Zombie and Waxwork are excited to deliver the complete Words & Music of HOUSE OF 1000 CORPSES from the film's opening credits through its credits crawl as an interactive read-along experience for fans of horror, vinyl records, and comics! Featuring all new artwork by Pete Bregman, deluxe gatefold packaging, an 11""x11"" 28-page booklet, printed inner sleeves, and a heavyweight character cut-out sheet to create your very own House Of 1000 Corpses spookshow!

HOUSE OF 1000 CORPSES is a 2003 American horror film written, co-scored, and directed by Rob Zombie in his directorial debut. The film stars Sid Haig, Bill Moseley, Sheri Moon, and Karen Black as members of the murderous Firefly family. The film explores multiple genres including horror and exploitation, and it was initially shelved by the movie studio for its graphic amounts of blood and gore, as well as scenes involving torture and necrophilia."

"The Words & Music of House of 1000 Corpses" by Rob Zombie includes the following tracks: "From "These are all my Dolls."" and more.

This version comes as a 2xLP Set in a Printed Inner Sleeve packaging + Comic Book.

The vinyl is pressed as a swirl, orange & purple & green vinyl.

You get older, you have a family, and you start to slow down-that's how things are supposed to go, right? Not for Montreal band Corridor, who have returned on their fourth album, Mimi, with a sound and style that's more widescreen and expansive than anything that's preceded it. The follow-up to 2019's Junior is a huge step forward for the band, as the members themselves have undergone the type of personal changes that accompany the passage of time; even as these eight songs reflect a newfound and contemplative maturity, however, Corridor are branching out more than ever with richly detailed music, resulting in a record that feels like a fresh break for a band that's already established themselves as forward-thinkers. Mimi immediately recalls the best of the best when it comes to indie rock-Deerhunter's silvery atmospherics immediately come to mind, as well as the spiky effervescence of classic post-punk-but despite these easy comparisons, Corridor remain impossible to pin down from song to song, which makes Mimi all the more thrilling as a listen. "The goal was to work differently, which is the goal we have every time we work on a new album-to build something in a new way," Robert explains. "This time, we took our time." And so in the summer of 2020, Corridor's members-Robert, vocalist/bassist Dominic Berthiaume, drummer Julien Bakvis, and multi-instrumentalist Samuel Gougoux-holed away in a cottage to engage in the sort of creative experimentation that would lead to Mimi's ultimate creation. Corridor tinkered with the songs' raw parts digitally and remotely over the next few years, with co-producer Joojoo Ashworth (Dummy, Automatic) lending their own specific talents in the theoretical booth. The process was a byproduct of not having access to their rehearsal space due to the COVID-19 pandemic, but also a result of the four-piece leaning harder into incorporating electronic textures than on previous records. "For a long time, we identified as a guitar-oriented band, and the goal of making this whole record was trying to get away from that," Berthiaume states. Berthiaume also describes Mimi as a record about "getting older" and "figuring out new parts of life"-but despite any claims of transitional growing pains from the band, Mimi is a record bursting with new energy and life, a vibrance that's owed in no small part to Gougoux joining the band full-time after pitching in on live performances in the past. "I come more from a background of electronic music, so it was nice to involve that with the band more," he explains, and Mimi contains a distinct rhythmic pulse reminiscent of classic era-post-punk's own melding of dance and rock textures. Over bright, chiming guitars and ascending synths, Robert addresses his looming mortality on "Mourir Demain": "I wrote it when my girlfriend and I were shopping for life insurance," he laughs. With our little daughter growing up, we also considered making our will. I said to myself, 'Oh shit, from now on I'm slowly starting to plan my death." Don't mistake this as music about dead ends, though, as Mimi embraces and champions unfettered creativity while paving a way for Corridor's own bright future. "We just focused on making a record that sounded the way we wanted," Gougoux exclaims while discussing the band's aims. "There were no limitations when it came to what was possible."

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.