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Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

Second pressing on 180g ultra-clear vinyl, printed inner-sleeve, download card included.

"When everyone left NYC, the sewer opened and we crawled out." Prolific Brooklyn institution The Men return with their ninth studio album, 'New York City'. Arriving following 2020's 'Mercy', the new LP is released February 3rd 2023 on the group's new label home Fuzz Club Records and marks a return to the more scuzzy and abrasive rock ploughed over their decade and a half spent coursing through the grimy sewers of NYC. Here, nocturnal proto-punk meets a timeless, all-guns-blazing rock'n'roll gusto. That the album leans into a more primitive, back-to-basics sound owes largely to the way in which was forged, an earlier version of the record scrapped in favour of four people playing in a room together. "The New York City album was revised, reorganized and shaped until it became clear that things fall into place like the hammer driving the nail or the scythe's swipe through the tall grass." The end result is a series of cuts played live and recorded to 2" tape in Travis Harrison's (Guided By Voices, Built To Spill) Brooklyn studio. New York City' is a record that doesn't stop moving for a second, packed full of the kind of energy you can only really capture in a live setting. "These songs became the blood of the band as the band could only exist for and of these songs. There was no place else to hang their hats. Without making this record, the group would not exist, so there really wasn't another option. NYC is fluid. It means a lot of different things to all kinds of people. We present the record in that spirit."

SLY & THE FAMILY STONE: One of the most innovative groups popular music has ever known, the band that instigated a musical revolution! Black and white, male, and female, SLY & THE FAMILY STONE were the first- and still the most significant - integrated combo in the history of popular music.

Founded in November 1966 by Sly Stone by merging The Stoners with his brother Freddie’s Stone Souls, this new sound was a unique and unprecedented fusion of Soul, Funk, Rock, R&B and Psychedelia. Sly himself was a master musician who wrote, arranged, and produced all the group’s material, fashioning ingenious musical arrangements with a blend of syncopated rhythm, pop melody, lowdown funk and unorthodox harmony.

And he chose the best players in the San Francisco Bay Area to implement this outrageous musical vision. With the compilation STONE SOUL we are focusing upon their rarely heard roots and the earliest examples of the style that would take the music world by storm. This fascinating set includes the complete recordings of FREDDIE AND THE STONE SOULS, early solo experiments by SLY and ROSE STONE, the very first SLY AND THE FAMILY STONE studio session that predates their signing with Epic Records, and the tremendous 1968 demo ‘Man Does Not Live’. Also featured are the gospel sounds of THE HEAVENLY TONES, whose members would provide vocal backgrounds on multiple Family Stone albums and later become known as Little Sister.

So Ride the Rhythm and let the music take your mind

SLY & THE FAMILY STONE: One of the most innovative groups popular music has ever known, the band that instigated a musical revolution! Black and white, male, and female, SLY & THE FAMILY STONE were the first- and still the most significant - integrated combo in the history of popular music.

Founded in November 1966 by Sly Stone by merging The Stoners with his brother Freddie’s Stone Souls, this new sound was a unique and unprecedented fusion of Soul, Funk, Rock, R&B and Psychedelia. Sly himself was a master musician who wrote, arranged, and produced all the group’s material, fashioning ingenious musical arrangements with a blend of syncopated rhythm, pop melody, lowdown funk and unorthodox harmony.

And he chose the best players in the San Francisco Bay Area to implement this outrageous musical vision. With the compilation STONE SOUL we are focusing upon their rarely heard roots and the earliest examples of the style that would take the music world by storm. This fascinating set includes the complete recordings of FREDDIE AND THE STONE SOULS, early solo experiments by SLY and ROSE STONE, the very first SLY AND THE FAMILY STONE studio session that predates their signing with Epic Records, and the tremendous 1968 demo ‘Man Does Not Live’. Also featured are the gospel sounds of THE HEAVENLY TONES, whose members would provide vocal backgrounds on multiple Family Stone albums and later become known as Little Sister.

So Ride the Rhythm and let the music take your mind

Walter “JUNIE” Morrison was a former member of the OHIO PLAYERS and responsible for writing and arranging their early 1970s hit singles “Pain”, “Pleasure”, “Ecstasy” and most notably, the group’s first Billboard R&B Number One “Funky Worm”. In 1978 he joined George Clinton’s Funk Mob PARLIAMENT FUNKADELIC and, as their musical director, played a key role during the creation of the hit albums “One Nation Under A Groove”, “Motor Booty Affair”, “Gloryhallastoopid” and their R&B Number Ones, “One Nation Under A Groove” and "(Not Just) Knee Deep". In between acts he released three solo albums for Westbound Records that showcased his unique take on the funk. “The Funky Worm – Live at Dooley’s 1976” is a one of kind live recording from his mid-70s Westbound solo period that was only recently discovered.

Regrooved Records is proud to present the very first live album of funk icon JUNIE MORRISON.

Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album 'Anyway, Still' continues the quartet's appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. " Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen's instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. LP limited to 500 copies on 180gm black vinyl with a gatefold sleeve (release date is later in July).

JEROME BRAILEY funk drummer and former member of George Clinton’s PARLIAMENT FUNKADELIC is most famous for co-writing PARLIAMENT’s 1976 gold hit single “Give Up The Funk (Tear The Roof Of The Sucker)". But thanks to poor management, in 1978 he and several other members mutinied and left the group.

That same year Jerome gathered his own crew, dubbed them MUTINY, and issued two classic funk albums on Columbia Records: “Mutiny On The Mamaship” (1979) and “Funk Plus The One” (1980). A third album entitled “Black Hat Daddy & The Silver Comb Gang” was scheduled for release on Jerome’s own label J.Romeo in 1981 but, due to unforeseen circumstances never saw an official release, although a handful of tracks were included on MUTINY’s 1983 album “A Night Out With The Boys”.

So now, Jerome Brailey & Regrooved Records proudly presents the original mixes and line-up for the true 3rd and unreleased MUTINY album “Black Hat Daddy & The Silver Comb Gang”.

Bonus 7' - Black Hat Daddy & The Silver Comb Gang by Child Support Instrumental

JEROME BRAILEY funk drummer and former member of George Clinton’s PARLIAMENT FUNKADELIC is most famous for co-writing PARLIAMENT’s 1976 gold hit single “Give Up The Funk (Tear The Roof Of The Sucker)". But thanks to poor management, in 1978 he and several other members mutinied and left the group.

That same year Jerome gathered his own crew, dubbed them MUTINY, and issued two classic funk albums on Columbia Records: “Mutiny On The Mamaship” (1979) and “Funk Plus The One” (1980). A third album entitled “Black Hat Daddy & The Silver Comb Gang” was scheduled for release on Jerome’s own label J.Romeo in 1981 but, due to unforeseen circumstances never saw an official release, although a handful of tracks were included on MUTINY’s 1983 album “A Night Out With The Boys”.

So now, Jerome Brailey & Regrooved Records proudly presents the original mixes and line-up for the true 3rd and unreleased MUTINY album “Black Hat Daddy & The Silver Comb Gang”.

Bonus 7' - Black Hat Daddy & The Silver Comb Gang by Child Support Instrumental

JEROME BRAILEY funk drummer and former member of George Clinton’s PARLIAMENT FUNKADELIC is most famous for co-writing PARLIAMENT’s 1976 gold hit single “Give Up The Funk (Tear The Roof Of The Sucker)". But thanks to poor management, in 1978 he and several other members mutinied and left the group.

That same year Jerome gathered his own crew, dubbed them MUTINY, and issued two classic funk albums on Columbia Records: “Mutiny On The Mamaship” (1979) and “Funk Plus The One” (1980). A third album entitled “Black Hat Daddy & The Silver Comb Gang” was scheduled for release on Jerome’s own label J.Romeo in 1981 but, due to unforeseen circumstances never saw an official release, although a handful of tracks were included on MUTINY’s 1983 album “A Night Out With The Boys”.

So now, Jerome Brailey & Regrooved Records proudly presents the original mixes and line-up for the true 3rd and unreleased MUTINY album “Black Hat Daddy & The Silver Comb Gang”.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

»Outside of the world«, the second album by Japanese trio Usurabi, is a rare pleasure – a guitar pop album that’s deep with spirit, bristling with energy, melodically rich and precious: full of life. It’s even more thrilling than its predecessor, 2021’s Remains of the Light, also released by An’archives, its eight songs falling together just perfectly. If you’ve ever swooned to the sound of rattling, humming organs on countless ‘60s garage rock sides, the wistful beauty of David Roback and Kendra Smith’s music as Opal, the brittle immediacy of those 80s EPs from New Zealand acts like The Clean and The Chills, you’ll find plenty to love here.

The line-up’s still the same: the songs are written by Toshimitsu Akiko, previously a member of Doodles and Aminome; playing behind her is drummer Morohashi Shigeki and bass player Kawaguchi Masami, who’d previously played together in Kawaguchi’s legendary Broomdusters, where Kawaguchi really started to establish himself as one of Japan’s greatest rock guitarists. But Usurabi is very much Toshimitsu’s vehicle, a space for her to gift her gorgeous songs to the world, with Kawaguchi and Morohashi helping guide the songs into the light. Indeed, one thing that’s particularly noticeable about »Outside of the world« is the way all three musicians act in service to what the songs demand.

So »Meet again, outside of the worl«” opens the album with a beautiful 60s garage sway, all buzzing organs and Toshimitsu’s beautifully clear voice. »Even if it’s a lie« bristles with energy and tension, its driving rhythms recalling groups like The Feelies, but with Toshimitsu’s surf rock guitar riding the waves. »Pura« is pensive and melancholy, its graceful slow motion dissolving into a free-form section where Kawaguchi and Morohashi drill down into the earth, a fiercely responsive rhythm duo, while waves of coruscating noise guitar soar out into the ether; »Waves« is a stately closer, crushing guitars cossetting a slow, martial rhythm.

Recorded over 2021 and 2022, »Outside of the world« is a more than worthy follow-up to both »Remains of the Light «and the limited cassette, »Further closer«, released in 2022 on Kawaguchi’s Purifivia imprint. It has Usurabi stretching out, letting their songs breathe when they need, and tightening the screws on other songs so they become perfect pop statements. There’s plenty of joy and pleasure here, and a gentle but determined melancholy; inviting and beautifully sculpted, Outside of the world is a quiet masterpiece.

Edition of 400, comes in a 2 colors (gold & black) silkscreened on heavy jacket with obi (black or patterned light pink), with inserts and a postcard. Special A3 (fold out) full color & duotone insert by Andrew Chalk. Printed by Alan Sherry. Liner notes by Jon Dale.

Dutty Rock ist das zweite Studioalbum des jamaikanischen Reggae/Dancehall-Künstlers Sean Paul.

Es wurde am 12. November 2002 veröffentlicht und enthält vier Top-15-Hits der Billboard Hot 100, "Gimme the Light", "Get Busy", "Like Glue" und "I'm Still in Love with You". Am 29. September 2003 wurde es inklusive der Hit-Single Baby Boy wiederveröffentlicht.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

Originally released in 1981, this is the 4th EP from legendary British hardcore group Discharge and it's perhaps their most famous and widely regarded recording. A blistering 10 tracks clocking in at around 15 minutes total, Why reached #1 on the UK indie charts which, when listening today, seems like a miraculous feat for such a brutal and revolutionary sound. Discharge paved the way for '80s crust and thrash punk and literally have a genre of punk named after their unique rhythmic approach and the dozens of imitators it spawned, "D-beat"; this EP, along with the classic debut album, Hear Nothing See Nothing Say Nothing (RRS90), are the most essential items in their catalog. True punks must get this!

In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem. In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

West Seattle Soul is an oozing collaboration of 13-15 Seattle hot shots crammed into a raw, close quarters performance that is blatant and obscure. It's an accidentally defying, thoroughly enjoyable, relapse of Seattle funk. The group has spent the last two years honing their chops at a residency at West Seattle’s Parliament Tavern.

When writing original music, this outfit goes by the name "The Pulsations" as presented on the B-Side of this Juicy slice of Seattle Side A: "Soul Makossa" West Seattle Soul put an afro-soul twist on Manu Dibango’s pioneering afro-disco hit “Soul Makossa.”
Their arrangement boasts bubbling clavinet, a tenacious horn section, and energetic vocal chants reminiscent of the original with a modern, underground dance music twist.

Side B: "Black River Crisis" Forming an Artist for all original music The Pulsations summon the deep pocket in “Black River Crisis.” Spurred from a group writing session, the drum and bass groove pave the way for interlocking guitar parts and a topsy-turvy horn line. The group found inspiration in the cataclysmic nature of the Black River that fed Lake Washington in the Seattle area.

The river was inadvertently drained when a canal was constructed from the Puget Sound to Lake Washington. The dried-up river caused a catastrophic loss of a resource that affected local farmers, the salmon population, and Native tribes who still lived alongside the river. It beckons the reality of the inevitable briefness in all facets of life and thusly, “you gotta dig it while it’s happening.”

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records