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Melbourne’s Cool Sounds return with their fourth full-length album Bystander, out February 12. Warm and deftly balanced, Bystander moves through indie rock and alt-country with an alert effortlessness.

Cool Sounds’ signature lead guitar lines are in dialogue with lead singer and songwriter Dainis Lacey’s lyrics, which are at turns introspective, self-aware, irreverent and unflinchingly observant. Bystander was written during a European summer and recorded in three weeks over the following Australian one, produced by Lacey alongside Dylan Young (Way Dynamic). While it can sound serene, Bystander isn’t always as laid back as the warm weather might suggest: this album sees Cool Sounds more attuned to their surroundings than ever. While Lacey has always been interested in storytelling, these songs bring lyrics into sharp focus – for the first time the words were all written before the music, and he took notes in the band’s cramped tour van on the autobahn and while wandering through small towns in France and Italy, reflecting on his home while away from it.

Bystander sees Cool Sounds explore the contemporary moment and the everyday with nuance and dexterity, never losing sight of the intimacy and charm that characterises their work. An exercise in observation and reflection, Bystander takes snapshots and zooms in, underlines phrases, and asks its listener to continue paying close attention.

Cool Sounds are Dainis Lacey, Nick Kearton, Ambrin Hasnain, Steve Foulkes, Jack Nichols, Pierce Morton

Produced by Dainis Lacey and Dylan Young

Engineered by Dylan Young

Back in October 2009, Strut’s Inspiration Information series was in full swing. Following an acclaimed collaboration between Mulatu Astatke and The Heliocentrics, Finnish maverick Jimi Tenor hit the studio for a mouth-watering head to head with Afrobeat drumming legend, Tony Allen.

Tenor had already built a reputation as a fascinating enigma in modern day music. Consistently one of the most inspired and unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) had involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Enjoying a burgeoning revival, Tony Allen had continued to attract new fans. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his work at the time of this recording had included the first album as The Good, The Bad & The Queen with Damon Albarn and his debut recording for World Circuit Records, ‘Secret Agent’.

Recorded at Lovelite Studios in Berlin during November 2008 ith further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion.

The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

First reissue of long out-of-print and sought after release from 2009
Unique fusion of Afrobeat drumming and psychedelic Jazz
Vinyl cut from original sessions

Back in 2018, Four Flies Records unearthed the previously unheard 'Africa Oscura', considered by many as the "dark side" of 'Zoo Folle' – Giuliano Sorgini's masterpiece (reissued by Four Flies Records in 2016) – and partly recorded during the same session in 1974.
The original work portrays a fictional and mysterious continent, providing a soundtrack tinged with dark
moods and cosmic shades. 'Africa Oscura' was entirely recorded by the composer, who played all instruments in his studio in Rome. This resulted in a formal spareness, a minimalism that gives it a
modern quality, something which makes it stand the test of time, or at least resonate with contemporary taste.
Since its release, 'Africa Oscura' has become a classic – a pivotal release not only within Sorgini's discography, but also one that made his name more known and accessible to a new generation of music professionals, DJs and fans of electronic music.
Four Flies have thus decided to celebrate its modernity with a double 12" featuring 7 reworks by six of Italy's most visionary DJs/producers: Jolly Mare, L.U.C.A. (aka Francisco), pAd, Painé, and Quiroga & Dario Bass.
The original tracks have been reworked with different approaches, sometimes into full reinterpretations, and with demanding dance floors in mind. The result is a stunning collection of electronic, cosmic, downtempo and Balearic reworks that preserve the spirit of the original versions while projecting them into the future.

A guitarry hybrid of AZITA’s edgy rock / soul / R&B sound. Grooving good times, acerbic exchanges overheard in the street, shifts in community, the losses you will carry always, dark recesses late at night that echo with a wonder you've never felt before. Life.
All instruments played by AZITA; the wackest, most AZITA-harmonious sounding pop album yet.
For those who find the passage of time a one-way process of attrition, here’s good news for you. In the eight years since AZITA’s last long-player her fevered brain has barely rested and the proof is a new album of unbounded physical and mental activity, music and entertainment, entitled ‘Glen Echo’.
The worlds of the previous AZITAs have left their unmistakable essence. Her singular conception of pop music - the idiosyncratic songs, singing and playing that have graced seven acclaimed releases - is in verdant recurrence on ‘Glen Echo’, blossoming anew, cutting sharply in the spirit and image of her everevolving, always questioning style.
Writing and arranging on keyboards since the time of her solo debut, AZITA focused on guitars for this set of songs. Not simply for swagger or a fresh approach to soloing but as part of a way to elide expected singer-songwriter tropes, to democratically populate the sound-stage in equal partnership instead.
This is a key aspect of the ‘Glen Echo’ sound, one that determined another new choice - AZITA playing everything on the album herself.
Previous long-players ‘Enantiodromia’, ‘Life On the Fly’ and ‘How Will You?’ were achieved via close work with players and engineers who took the compositions from the demo to a finished form. Invariably though, something would get lost in the transmigration somewhere. With ‘Glen Echo’, AZITA comes through fully, jaggedly, most vividly, owning her intention entirely in the dialogue of singing and playing her rock and rhythm and blues.
The lyric sheet is riddled with language that circles, through the many moments of life, aspects of the passage of time, the pre-empted dreams and strangeness of the present and the way we invent an idealized past in response to the changes, guiding the narrative... where? It’s all banded together by AZITA’s wit, equal parts droll and dire, her dispassionate view of fates and outcomes for all of us here together on the planet, textured with unique, cinematic details and sudden dives into a deeply felt, utterly OG sense of soul.
In ‘Glen Echo’ are a multitude of sounds - all the moments in a life: the good time grooves, acerbic exchanges in the street, shifts in community and generosity, moments of loss you know you will carry forever, reflection upon unknown futures and pasts, the dark recesses late at night that echo with a wonder you’ve never felt before. You name it, AZITA’s got some sweet and sour theme music for it.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

Propeller was the fifth album by Guided By Voices, and was
intended to be the group’s last. Released as a limited edition of
500 LPs in 1992, the album featured handmade covers and blank
labels to keep expenses as low as possible. Their other albums
hadn’t sold much, why would this one? Robert Pollard had a
family to support and his musical aspirations had not exactly
been a boon to their bank account.
As fate would have it, the band wound up releasing an album
chock full of gems Pollard had stockpiled, and for the first time
sounded distinctly like the band that fans have since come to
love. Propeller also marks the return of Tobin Sprout to the
GBV fold, along with an increased songwriting presence. From
anthem-to-be “Over the Neptune” to the effortless melodies of
closer “On the Tundra,” Propeller is a hell of a ride, and remains
one of the most important albums in the band’s discography.
The vinyl edition has been out of print for a decade, and
features different cover art than previous pressings. The CD
edition has been out of print for a minute as well, and is now
housed in digipak format, also with a new, unique cover from
one of the original pressings. And for the first time Propeller is
available on cassette.

Propeller was the fifth album by Guided By Voices, and was
intended to be the group’s last. Released as a limited edition of
500 LPs in 1992, the album featured handmade covers and blank
labels to keep expenses as low as possible. Their other albums
hadn’t sold much, why would this one? Robert Pollard had a
family to support and his musical aspirations had not exactly
been a boon to their bank account.
As fate would have it, the band wound up releasing an album
chock full of gems Pollard had stockpiled, and for the first time
sounded distinctly like the band that fans have since come to
love. Propeller also marks the return of Tobin Sprout to the
GBV fold, along with an increased songwriting presence. From
anthem-to-be “Over the Neptune” to the effortless melodies of
closer “On the Tundra,” Propeller is a hell of a ride, and remains
one of the most important albums in the band’s discography.
The vinyl edition has been out of print for a decade, and
features different cover art than previous pressings. The CD
edition has been out of print for a minute as well, and is now
housed in digipak format, also with a new, unique cover from
one of the original pressings. And for the first time Propeller is
available on cassette.

The maiden solo album from Jam Baxter on the Blah Records imprint. Entirely produced by Sumgii. Following on from the 2019 collaboration album between Jam Baxter and Lee Scott; 'Happy Hour at the Super Fun Time Party Dome Megamix 3000', Baxter returns to Blah, this time with a fully-fledged solo offering to truly cement him as a member of the Blah Records family. Legendary producer Sumgii does not disappoint with his trademark experimental, electronic urban soundscapes which complement Baxter's vivid poetic imagery perfectly. Written and performed by Jam Baxter & friends. Produced and composed by Sumgii.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

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

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

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

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

Key selling points:

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

Frontman of Nottingham punk band Kagoule, Cai Burns, returns as Blood Wizard. Arriving with no fixed direction, Blood Wizard is a project that sees Burns explore himself as a brand new entity, an artist beyond boundaries and preconceptions.

First single ‘Breaking Even’, showcases Burns’ impeccable songwriting skills and acts as the perfect introduction to this exciting project. With jangled, stop-and-go instrumentation, it is sheer artistic satire with an added charm.

Burns says about ‘Breaking Even’: “Breaking Even is a song about doing a lot for someone, changing yourself to fit their ideas of you but not getting the same in return. It's a satirical commentary on the effect that can have on a friendship or relationship”

Western Spaghetti, out 5th March 2021 via Moshi Moshi Records. Filled with crisp hooks, it is an album that has a predominant folk undertone that also expertedly navigates through various textures and dark melodies. There was not an album in


mind when Burns first started recording with Tom Towle at Random Recording Studio - just fragments of songs that all came together when the world paused in the spring and Burns realised that what he had been working on over the last few months could become a full record. The structure of the album follows suit, chopping and changing between harder-edged sounds and acoustic meanderings.

There is a forward honesty and a witty wryness to Blood Wizard. “Hooray to the big news, got my mouth around the spoiled fruit” he sighs on Fruit, a song about keeping happy for your friends’ achievements while your life feels static. Meanwhile, Total Depravity’s stand-out, bittersweet lyric “I’m never going to get that jacket back” pinpoints a singular moment amongst an anxious blur and a time he cannot return to. The infectious and fuzzy Carcrash draws on the weird ways love can be displayed, whilst in stark contrast, the subdued Somehow I Knew tells of the people you’ve never got to know.

LP Ltd edition GOLD vinyl, DL card (First pressing 500 copies only). New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A "heavy ambient" instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip. A full-length follow up to 'Joint Chiefs' from 2006, 'Celestial Scuzz' is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door. While Bardo Pond's trajectory takes them deep into rock music's ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a "sanctuary; balm for the soul." Describing the writing process, Michael Gibbons explains it as "a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam." // Bardo Pond: "One of underground rock's most extraordinary enigmas." The Quietus // "An exquisite and enjoyable side trip into harmonious interstellar regions with stripped down instrumentation, they drift into shimmering passages of temporal displacement." Brainwashed

"Ultra Eczema rarely reissues records: firstly, because we believe it's hard to improve on a good original (and we would never want to republish anything that isn't); and secondly, it's called the Internet and you can find everything on it. Nonetheless, in 2015 we reissued Kraus' 'I could Destroy You With A Single Thought', a CDR from 2004, because it was camping in our all-time favourite records list for a decade and the data on this erratic medium tends to erase itself, much like a troubled past. 'A Golden Brain' was published in the first wave of the Covid pandemic via Kraus' bandcamp as a digital release. And once again we couldn't help ourselves. This is Kraus at his best: if a bedroom could be a stadium, he would play the main stage! Limited edition of 300 copies. Includes an insert, download code and a UE sticker."

Mike Lundy, Lemuria, Aura. This trifecta of inimitable Hawaiian acts descended upon Honolulu’s state-of-the-art Broad Recording Studio in late 1979 to create what have now become the most coveted Hawaiian funk/soul/jazz albums of the era.

But whereas Lemuria functioned as a short-lived studio band and Mike Lundy saw little success from his album’s release, Aura — comprised of eight siblings from the Mendoza family — remained a key figure in the nightlife scene of Hawaii of the 1970s and early 1980s.

Each tune on their 1979 LP showcases the band’s unmatched musical talent that continues to astonish listeners in the 21st century, including Juno Records: “Raw funk… honey-coated soul… grooves and big smiles… lavish Hayes-level horns… dynamic and luxurious full-spectrum harmonies. Stunning.” Available on vinyl and digital for the first time since its initial release, Aura is a rare example of an album that in today’s crowded reissue landscape really does live up to its mystique.

Mike Lundy, Lemuria, Aura. This trifecta of inimitable Hawaiian acts descended upon Honolulu’s state-of-the-art Broad Recording Studio in late 1979 to create what have now become the most coveted Hawaiian funk/soul/jazz albums of the era.

But whereas Lemuria functioned as a short-lived studio band and Mike Lundy saw little success from his album’s release, Aura — comprised of eight siblings from the Mendoza family — remained a key figure in the nightlife scene of Hawaii of the 1970s and early 1980s.

Each tune on their 1979 LP showcases the band’s unmatched musical talent that continues to astonish listeners in the 21st century, including Juno Records: “Raw funk… honey-coated soul… grooves and big smiles… lavish Hayes-level horns… dynamic and luxurious full-spectrum harmonies. Stunning.” Available on vinyl and digital for the first time since its initial release, Aura is a rare example of an album that in today’s crowded reissue landscape really does live up to its mystique.

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Red Splatter Viny

Redscale is back! Fantastic news that was hard to keep secret the last few months. After a solid 3 years of working exclusively on building the Greyscale label, owner grad_u felt its the right time to also focus
on his own music. And we all can't be more happy to hear what he's been up to!
Redscale #10 has all the hallmarks of the classic output but the energy is dialed up to 11. 'Siren' is a pure dancefloor packer! It has that ideal combination of underground techno club power and catchy
supporting chords. Think Aril Brikha's 'Groove La Chord' and you get the idea of a true heater.
'Dancefloor is Dangerous' is on the B-side and it was specifically made for a gig where grad_u showcased his live chops warming up the crown for Jeff Mills. That big club dub techno sound made to perform live in China, Iran, France and others.
This vinyl will come with full printed cover and special center label artwork. Pressed with black and orange splatter effect on transparent red vinyl with one side that even plays inside out! Expect to move
the masses with these 2 showstoppers!
We can't say it enough. Redscale is back!

Rebuke returns to Drumcode with a trio of timeless dancefloor weapons.
The Irishman’s ‘Rattle’ was a standout of 2019, judged by DJ Mag as their no.22 top track of the year and is etched in the Drumcode discography as one of the most original releases to date. A valued part of Adam Beyer’s extended collective; he would have made his Drumcode event debut at WMC in Miami this March. Without a doubt, a sophomore EP was always on the cards.

‘Instatik’ kicks the work into gear, a rugged, reverb-heavy cut with industrial drums that pump like pistons and an undulating synth effect that makes you feel like you’re on a turbo-charged rollercoaster. ‘Livewire’ has the trademark Rebuke brain-scrambling stamp on it, a flurry of steelyard percussion bring the track to life, before a low-end melody swells to attention, rubbing shoulders deliciously with driving drumlines, for an uplifting second half. The title track ‘Obscurity’ is a dark slice of techno funk, filled with synapse-tickling arpeggios, before a rollicking groove takes hold and launches the track home at full-flight. Another thrilling and innovative release to add to the Rebuke canon.

“I think 2020 will go down in history as the craziest year of our lifetime. The future is still pretty unknown right now and things are drastically changing week to week. With that in mind, I felt ‘Obscurity’ would be a fitting title for my second Drumcode EP. It represents the state of being unknown, unclear or difficult to understand – feelings I’m sure most of us are going through right now. Most the tracks aside from ‘Livewire’ were written in quarantine; ‘Livewire’ was written right before the virus shut the world down, in a hotel room in Lima, Peru in January. This EP is my favourite to date as I think it shows a different side to my musical palette, whilst still developing the signature sound heard in all my music.” – Rebuke

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas