Search:guitars

Optimo Music presents a 5 track EP & also a debut release from Nashville's Stranded, including a remix of title track 'Celine's Dilemma' by RSD, aka Rob Smith of Smith & Mighty fame.

Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP, Celine's Dilemma, on Optimo Music. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop the music is a sonar call to places where people are gathering, working, and dancing.

Limited Edition 400 Only Translucent Violet Coloured Vinyl Lp. Housed In A Full Colour Outer Sleeve With Mind Bending Artwork And Download Code.

Third Earthling Society Album For Riot Season Following The Previous And Now Sold Out 'england Have My Bones' (2014) & 'ascent To Godhead' (2017)
 
'mo - The Demon' Was Recorded At Leeds College Of Music Between November 2017 - February 2018. The Basis Of The Album Was To Record An Imaginary Soundtrack To The Shaw Brothers Bat Shit Psychedicrazy Kung Fu Horror 'the Boxer's Omen' Aka Mo Or Demon.
 
The Story Is An Everyday One.
 
After A Hong Kong Kick Boxer Is Paralysed By A Cheating Thai Competitor, His Mobster Brother Vows Revenge And Journeys To Thailand For A Duel. Along The Way, Our Hero Is Met By Bizarre Visions, Entered Into A Buddhist Monastery, And Begins A Quest To Save The Soul Of A Deceased Monk (his Twin Brother In A Past Life) Who Died At The Hands Of A Powerful Black Magician.
 
We've All Been There. However The Movie Descends Into A Kind Of Spiritual Jodorowsky Mushroom Fest That Is Completely Deranged And Is Therefore One Of Those Perfect Midnight Movies.
 
So We Got Free Studio Time At Lcm In November And Just Went 'fuck It' Lets Make An Imaginary Soundtrack In Homage To Such A Great Movie.
 
Taking Inspiration From All The Things Musical That Have Inspired Us Over The Years. Berlin Era Bowie, Prime Magazine Circa 'correct Use Of Soap', Electric Funk Miles, 'caravanserai' Santana, Embryo And God Knows What Else (it Doesn't Really Matter As It All Ends Up Earthling Society), We Think We've Made A Groovy As Fuck Concept.
 
Then, Invited Back In February We Decided To Record 2 Stand Alone Pieces 'spring Snow' And 'jetavina Grove' And Bring All Our Space Rock Elements And Psych Raga Back Into The Fray. Throw In Some Super Cool Korean Vocals Courtesy Of Bomi Seo Of Tirikiliatops And Run The Guitars Through A Harmonizer H910 (as Used By Visconti On Low An Heroes) And Its The Perfect Swansong To The Last 14 Years Of Playing Live And Recording Together.

 

DESCRIPTION

FALK Records will be releasing 'Spaces' from Icelandic experimental producer AAIIEENN this August.

AAIIEENN is the solo project of electronic musician Hallmar Gauti Halldórsson. Halldórsson first came to
music though being a mover and shaker in Iceland's punk and hardcore scene where he was the 'harsh
noise guy' with local band Distill the World. With AAIIEENN however, Halldórsson moved away from the
guitars and screaming to a fully electronic world of experimental synth music and gorging on the
mathematical possibilities and expanses of arpeggio/sequencer driven ambient music.

'Calab-Yau' and 'Continuous Property 1' drip shards of pure crystalline sound into deep crevasses as
harmonic droplets ping of gleaming surfaces coated with spongiform bass. The light and effervescent
'Euclidean' evokes classic Ambient Works Aphex Twin, while 'Manifold' is more direct with a muscular and
sturdy bassline. Spaces closes with the fluttering and lush ambient sounds of 'Zariksi' that are carried into
the skies by a pulsing and gliding techno beat.

Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson.
These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music.
The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Browns "Bip Bam" The group wasn't that pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included
Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton,
guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill'Henderson strings.
The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....But wait, we at Super disco edits have unearthed the original tapes with the very first incarnation of that song and music, different lyric content and sung by Bill Brown. Not just this you get the instrumental on the b side!!

New Orleans Based Artist Hirakish Is A Vanguard Visionary And A Show-stealing Hba Catwalk Star. His Evolving Practice Spans Music, Acting And Performance. Active In New Orleans, New York And La, He Recently Performed Live At Moma Ps1 For The Premiere Of "the Mean Of Life" A Film By Shane J Smith And Is Currently Working On A Project With Yves Tumor. 'black Velvet' Is A Look Inwards, At One's Own Struggle With Paradoxes Of Love, Sorrow, And Desire. The Four Tracks Move Effortlessly Through Romanticism, Suffering And Ecstasy. Awash With Blistering Guitars, Synths And Hard Hitting Vocals Laced With Fragile & Reckless Lyrics, Together Yield A Spiritual And Subtle Hallucinogenic Air. Hirakish And Co Have Created A Soulful Antidote With A Razor-sharp Sound Scape That Reincarnate The Soul. Hirakish Will Premiere A New Live Performance 'velvet Cafe' In London At Cafe Oto This Coming Fall With Nyx Unchained.

Formed in 2007 by Jakob Seidensticker, Florian Schirmacher and Henrik Raabe, Wareika was accidentally gathered on stage for the first time at Hamburg's mythical Mojo Club. Since then, the german trio has built a very singular sound signature after a decade of playing together. Revealing the diverse influences and musical educations from all three individuals, the band's discography has been built over a solid live experience. Being academically trained in Jazz and Classical but also self taught through electronic music, Jakob, Florian and Henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more. Concocting their stylistic blend with meditative Jazz, hypnotic Dub, meticulous Techno and subtle House, it leaves no surprise as you think about the high level of versatility of Wareika's musical spirit. Calling from King Tubby, Sun Ra or afrobeat master Fela Kuti, they develop a dazzling kaleidoscope of melodies and polyrhythmic patterns over four to the floor beats that is entirely unique in the electronic music scene. When it comes down to live gigs Wareika is putting a stress on quality and delivers an outstanding sound. As a trio of singular performers the band jumps on stage without computers, setting up an improvised dialog based on their original material but always handing over a unique piece taking form in the moment. Jakob Seidensticker on MPC arrangements, drum machine sequencing and mixing, Florian Schirmacher on vocals, synthesizer, percussions and Henrik Raabe on guitar, synthesizer and percussions, the trio holds the mastery of enhancing a crowd with a multitude of tools and elements, sometimes for more than four hours. Also occasionally rendering live versions of their own full-length releases, they always cross borders of their studio work to unfold their creations into a whole new level.

Tropical Disco Records are back with their fifth release of the year, bringing you four killer edits from the Tropical Disco Volt.

Moodena introduces Volume 5 in fine style, mustering another spellbinding composition with Gil's Groove. Sounding as swagged out as ever, it's evident form & flair comes naturally to the artist.

TD comrades Moodena & Sartorial present their first collaboration on Turn It Up, neatly entwining their distinct styles, rolling basslines, cascading guitars and sultry Sax. The result is a piece of pure energy - it's hard not to do exactly what the track tells you.
The disco wizard, Sartorial continues his ever growing solo output with 6 million, a righteous slab of soulful dance music that can make a dancefloor bang, as well as weep.

Feel The Heat rolls effortlessly with a lush vocal that melts the loins and lays out a sonic smorgasboard of what epitomises Tropical Disco Records - soul!

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Crafted in the style of old school dancehall clashing, 'Veteran' is a mixture of classic heavyweight dancehall lyrics and a new school flow. The tune is set to be a timeless banger aiming to keep the dancehall massive rocking and swinging day and night.
Inspired by the riddim and sounds of Blind Prophet, Clinton Sly is ready to run the sound system!
Slowing down the tempo to 120bpm, Blind Prophet delivers a heavy dose of dubwise for the B-side. 'Hugh Dub' starts off with a mutated vocal and quickly drops into a tuff steppers riddim. A distorted bassline and thumping kick drive the track.
Accompanied by plucked guitars, organ skanks and dub FX it's a sound system stomper for sure!

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



Y

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
.
Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

Muse have announced that their eighth studio album, 'Simulation Theory'. The eleven-track record was produced by the band, along with several award-winning producers, including Rich Costey, Mike Elizondo, Shellback and Timbaland. Each of the album's songs will be accompanied by a video.

Recent singles, 'Something Human', 'Thought Contagion' and 'Dig Down', as well as brand new track 'The Dark Side', are all available immediately as a download when you pre-order the album. 'The Dark Side' is instantly recognisable as a classic Muse track, featuring Matt Bellamy's unmistakable soaring vocals and blistering guitars and the driving rhythm section of Chris Wolstenholme and Dominic Howard that have become a hallmark of Muse's stadium-filling sound.

'Simulation Theory' follows 'Drones', released in 2015. Since then the internationally acclaimed three piece have toured extensively, taking the ground breaking 'Drones World Tour' to fans across the globe. This concert was filmed and released in cinemas worldwide for 'One Night Only' in July 2018.

Muse is Matt Bellamy, Dominic Howard and Chris Wolstenholme. Their last studio album, Drones, was released in June 2015 and debuted at No. 1 in 21 countries around the world including their first No. 1 album in the United States.  The album went on to win the Grammy Award, their second, for Best Rock Album in February 2016.  Since forming in 1994, Muse have released seven studio albums selling in advance of 20 million albums worldwide.  

Widely recognised as one of the best live bands in the world, Muse have won numerous music awards including two Grammy Awards, an American Music Award, five MTV Europe Music Awards, two Brit Awards, ten NME Awards and seven Q Awards, amongst others.

Luciano has arranged a special series of four releases as part of the celebrations for the fifteen years anniversary of his own Cadenza Records, launching the first one to begin the festivities. Each episode is coming out in a different season of the year; the first one, with the catalogue number 118, is the chapter dedicated to the summertime and contains 5 enchanting tracks with an exquisite sound. Thisseries is just one of the astonishing surprises that Luciano has set aside for the birthday of his beloved label.
The show begins with "The Amazing Lilou", a crispy ariose tune with elaborated percussions and calypso-flavored synthesizers. "Hiding Hearts" is a latin prelude with pleasant guitars and restful melodies, flowing with joy and peace. "Nabusima" is another Caraibic spell, with noteworthy carefullymixed drums and elevating harmonies. "Magik Mechanics" explores complex broken beats andelectronic textures, drawing a colored narration in between a fairy tale and a sci-fi movie. Finally,"Tirana del Oriente", as disclosed by the title, is a trip into the Oriental ardent magic. A collection offive long summery compositions to accompany our hot pleasing days from the dawn till the dusk,holding our hands during a never ending daydream.

Fresh from touring with Hugh Masekela ( The Boy's Doin' It'), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
.
Additional Notes:

I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment'.

We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.'

Apart from being known for founding the infamous vinyl imprint Subaltern Records and for his residency on SUB.FM, Gabriele Romeo aka. Mentha has made quite a name for himself with his Jazz-influenced bass music productions. This LP is a selection of tracks from his vault, showcasing his musical abilities and tasteful compositions in this self-release.

1 - All Or Nothing
Greeting the listener with melancholic yet optimistic vibes is the first track of the LP, 'All Or Nothing'. Setting the loungey and open space feeling for the release, captivating chords and soothing melodies join a potent sub-bass in this introspective overture.

2 - Same Spot ft. Vale
'Same Spot' picks it right up where the first track left it, emerging further into a vast ethereal space. Charming guitars pave the way to uplifting trumpet lines, masterfully executed by Vale. A meditative bass-line seamlessly merges all elements together into a seductive modal composition.

3 - Sunflower
Showing off his instrumental skills yet again, Mentha delivers a sunny and laid-back masterpiece with an apt title, rounded off by a perfectly executed contrast between bumping subs, crispy drums and radiant spaces. Bossa-inspired rhythms bond with Rhodes, jazzy horns and crystal guitars shifting through the realms of major and minor.

4 - Natural Rain
Natural Rain maintains the meditative vibe while entering mysterious spheres of consciousness. Like sunrise in an enchanted forest, this track is magically captivating and keeps the listener under its spell throughout. Oneiric melodies encounter pads and polyrhythms, leading to a climax which completes this mystical journey.

5 - Water March
Like a light breeze on a hot day, Water March takes it easy. Marked by Mentha's very own signature guitar and trumpet, this peaceful march unfolds playfully. While surprising with energetic bass frequencies and instrumental intricacies, this piece shows an insight of the artist's musical roots.

6 - In My Head ft. Aphty Khéa
A psychedelic masterpiece, 'In My Head' sets a strong statement at the end of the release. The unsettling atmosphere of the track is tastefully matched by Aphty Khéa's pristine voice. Creating an eerie yet soothing vibe, this track lets the mind roam freely through time signature changes, dynamic transformations and instrumental layers which remind of Steve Reich.

Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other. In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly travelled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In the Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In the Dark can be found here. Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. *(this time)

Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako is set to release his second album 'Theme For A Dream' on Five Easy Pieces on 20th July 2018. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of 'Theme For A Dream' is the exploration of the human inne space, the balance of musical energies and music's healing capabilities. 'Theme For A Dream' is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland's SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting. 'Theme For A Dream' will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D xperience of its own. Snippets of the music from 'Theme For A Dream' become audio visual poetry and an immersive exploration of state of the art technology and oneself. 'I don't think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature. Around recording 'Theme For A Dream', Guerra also co-produced/co-wrote and engineered Kutmah's recent debut and Jitwam's forthcoming album, as well as produced almost half of Fatima's follow up album to 'Yellow Memories'. He is currently working on a film project with a London based production company and is already working on a new album, which is expected to bring back his vocal talent, previously released under the moniker Dirg Gerner.

Blair French returns to Rocksteady Disco after last year's brilliant Standing Still IsAn Illusion for another 12' of mind, body, and soul music. Public Park' starts off the release, with flutes, guitars, and African marimbas abound, presenting itself as the song of the summer. Spirit Guides' follows, taking listeners and dancers on a spiritual afro jazz odyssey. The flip features two versions of Public Beach', a communal ecstatic dance meets Detroit Jit footwork cut with a massive bassline, pulsing percussion, and harmonized chanting, constructed for open­minded dance floors and deejays. Limited to 300 vinyl, TIP!

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

New Zealand based EBM auteur Body Beat Ritual makes his debut on Bergerac with an incendiary EP of full throttle intense dark wave bangers. Growing up in North West England immersed in hardcore punk and rave culture led to musical experiments and Body Beat Ritual is his unique splicing of both aesthetics.
Using a combination of hardware, audio samples and midi sequencing, Body Beat Ritual reclaims the moment when underground musicians in Manchester, Chicago and Ghent put down their guitars and picked up drum machines and sequencers bringing the intensity, rawness and aggression of the band environment to the dancefloor. Mortal Sin is a certified smasher. Absolute dancefloor decimation whenever it's played out. No more description necessary. No Mercy evokes the Lost Boys vibe with an equally high octane raw workout. Trent Reznor meets Jeff Mills at a DAF gig on a flatliner. The EP closes with Body Politics which lowers the tempo to a chuggier zone, with an ode to female empowerment which keeps up that Body Beat pressure and intensity.

From A Formidable Connection Between Pasadena (los Angeles, Usa) And Osaka (japan), Kay Bee & Kzyboost Bring Us The Funk In A New Wonderfull Way.
Talkbox, Voices, Synths, Leads, Guitars & Strong Groovy Bass Lines Under The Big Influence Of Modern Funk & P-funk.
With Exceptional Collaboration Of Dr. Evo On The Bass For The Song "feel Da Funk", This 7" Vinyl Is A Trip Into The Real Funk Galaxy.

Written and produced by Maurice Fulton Hanna Sarkari ,all guitars. Mim Suleiman all drums and percussion. Maurice Fulton. All keyboards bass and drum programming. Recorded and mixed at BubbleTease Communications Sheffield UK

Continuing Ostinato's Series Of Cape Verde 45s Showcasing Diasporan Bands That Are Staples In Europe's Cape Verdean Communities, Ostinato Records Presents Timeless Dance Music For The Summer By Conjunto Jovens Africanos, Founded By Ze Orlando, A Respected Producer Originally From São Tomé. Formed And Originally Based In Lisbon, The Band Fused Raw Funaná Rhythms From The Cape Verdean Island Of Santiago With Syncopated Electric Guitars, Raucous Synthesizers, Relentless Percussion, And Addictive Vocals That Kept Their Compatriots On Their Feet Across Little Known Krioulu Nightclubs In Europe's Major Cities. First Released In 1984, Conjuntos Jovens Africanos' "nhu Jhon" And "volta Pa Terra" Are Stellar Representations Of Modernized Funaná's Endless Energy.

Monterrey's new kid on the block, Colossio, EP on Calypso is an inmerssion into this artist's world of influences. From kraut-rock to mexican folklore passing trough electronics, Colossio takes us on a journey inside his head and mind. "Moto" sets the stage with misterious guitars and trancey synths while "Fe" it's more of a robotic percussion trip. "Ansia" it's a more dance-floor oriented track while still mantaining the experimental spirit of the whole EP. On remix duties, Newcastle's latest global export, Man Power, channels the Stooges and the New York dolls for a sleazy Glam Rock version of the title track.

Örtmek comes back round, presenting another vinyl only pressing of three invaluable edits of vintage Turkish funk, rock and disco delicacies. Following the raw, percussive experiments of the first release. Opening track 'Özil Dans' rains down crashing cymbals and freak-out-worthy wah guitars, maintaining an irresistible and authentic groove that doesn't falter for five minutes of Eurasian hypnosis. 'Dokuz Sekiz' weaves traditional string elements alongside bursts of wild chanting. Finally, 'Mozart'in Davul' stitches a frantic, dense rhythm from the fuzz and feedback of an unknown slab of Turkish psychedelia.

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Dynamic composer Neil Cowley is set to release 'Spacebound Tapes' a four track EP featuring remixes of his Trio's 'Spacebound Apes' album ("A miss- this-at-your-peril release" Drowned In Sound 9/10) by Rival Consoles, Throwing Snow, Christian Löffler and Vessels

'Spacebound Apes' was written by Cowley for his trio and long-time bandmates drummer Evan Jenkins and bassist Rex Horan, with contributions from Brian Eno collaborator Leo Abrahams on guitars and FX. A bold exercise in atmosphere and emotion, the album was woven together with some of the most breathtaking, impassioned music that Neil has created. Originally inspired by Arthur C Clarke's 1956 sci-fi book 'The City and the Stars' the album was recorded at Cooper Hall, a studio and cinema set deep in the Somerset countryside with Stanley Kubrick's '2001 A Space Odyssey' running on permanent rotation.

The sci-fi aesthetic is firmly grasped by the four remixers, echoing the theme in their own reinterpretations. The reimagined tracks retain the inventiveness of the originals while exploring progressive but considerate paths. In his version of 'Weightless', Erased Tapes signed Rival Consoles feeds off of the electronic songwriter's critically lauded humanised techno, while rising German musician Christian Löffler brings new dimensions of space and scale to 'Death To Amygdala'. Houndstooth's Throwing Snow delights in deconstructing 'Duty To The Last' with pulsing energy and Vessels' take on 'Echo Nebula' applies machinic facets to the delicate sounds of the original.

Giovanni Damico keeps amazing things coming and takes it with this release on the mighty label Kalakuta Soul Records to the next level. Joining forces with the mighty Gabriele Spagnuolo and Francesco Di Domenico on guitars and Saxophone, the italian boogie doctor brings to life three filthy stompers inspired by amazing artists from the african continent who have shaped what we now call (dance) music. To Fela's People is one of three stompers delivered for this joint teaming up with Mr. Villy Odili - Lead singer of the amazing nigerian band Villy and the extreme Volumes - who's precise lyrics and drifty voice joins forces with a charging afrobeat rhythm hailing from Giovanni Damico's bad ass laboratory. Afro Stomp and Baba on the other side come with the most furious drums and bassline one could ever imagine accompanied by a celestial instrumentation that hits the mind, the soul and the hips. Vital Sales Points: - Limited to 500 copies - Great feedback from Nomad, Lakuti and Antal

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

A continuation of his kaleidoscopic sun-dappled cosmic-disco, Neon Leon was the much-loved CD-only sophomore album by Sorcerer. Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

A perfectly formed suite of ten tracks featuring soft guitars, subtle synths and lightly grooving percussion, Neon Leon magically evokes that elusive summer feeling throughout. The guitar-driven "Algorhythm" serves as the album opener, blasting bold, sun-drenched jazz chords atop bright synths and groove-based drum programming. "Ride The Serpent" and "Distort Yourself" are guided by a more sultry, slo-mo disco impulse whilst the staggering "Chemise" and strident "Face It" merge 80s West Coast production sheen with Sorcerer's trademark laid back, gentle disco. "Raydio"'s undeniable head-nod groove adds a rare vocal to the proceedings, joyously combining with the bubbling cosmic funk.

Since its initial release in 2009, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"Neon Leon's is the name of a bar in a Elmore Leonard book I was reading on a vacation to Belize with my future wife. I was soaking up his brand of noir during the making of the songs on this record, along with another favorite Ross Macdonald. We were living in a small apartment in the Mission District of San Francisco where i had my own room to jam. It was painted Orange and Turquoise and was a very inspiring place to create and focus. I could walk out of my house to any number of hole in the wall bars where people were deejaying, hanging-out, and knew about me and my music.

After White Magic I developed more confidence in my style and process so I stuck with it and I believe it shows in the tunes I selected for the record. The sounds are rich and I dug deeper into sampling from obscure dollar records and getting looser musically. I made a handful of collage videos for the tracks at this time as well, which represent where my mind was at visually. In my mind it's Cosmic Funk that rules the day and I am thankful to have the opportunity to share it with the world again."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

Multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) is back in some style with 'Back To The Day', a beautifully produced summer sizzler crammed full of infectious hooks, top musicianship and most importantly, vibe by the bucketload! Taking a nod from classic material by artists such as The Jackson 5, Earth Wind & Fire (and more recently Vulfpeck), 'Back To The Day' is Lack of Afro doing what he does best and then some - blending the old and new with big drums and heavy percussion to come up with a crossover classic that's entirely his own, whilst all the while developing his abilities as a songwriter.

Providing a dynamite vocal once again is regular collaborator Elliott Cole. Not just the voice of the track, he also plays guitars and bass, whilst ably backed up by some stellar musicians including George Cooper (Haggis Horns) on keys, Rory Simmons (Blur, Jamie Cullum) on trumpet, string and horn arrangements and Harry Harding (Yola Carter) holding down the backbeat on drums.

Keeping the dancefloor packed and turning the party vibes right up to 11, 'Take It Up A Notch' (featuring the brilliant Wax & Herbal T and taken from the critically acclaimed 'Back In Business EP') completes what is arguably one of the strongest single packages of the year!

Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' (released on his own label LOA Records) picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide. More recently, Adam's music continues to be used across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC whilst he also has released music on Universal & Warner Brothers Records.

Both tracks are taken from the new album 'Jack Of All Trades', released on LOA Records in May 2018 and supported by a live band UK tour in May & throughout various festivals throughout the summer.

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

'Erpland' was the band's eighth release and was originally released in 1990 and is considered by many fans as one of their finest works. The album will be re-issued on 180g heavyweight audiophile vinyl in this 2 LP set presented in a wide spine packaging.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It's an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes and sold over a million albums world-wide. And yet, the basic motivation behind the band's existence has never wavered. Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

The legendary 1972 album from Celia, arranged by Arthur Verocai.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights
over the course of her extensive career.

This, her second self-titled LP from 1972, features an all-star line up, including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes, among others.

Célia's version of 'Na Boca do Sol' - taken from this album - is arguably her most well-known and well-loved song. An incredible take on Verocai's original, featuring waling fuzz guitars, strings, piano, horns and drums.

Needless to say clean, original versions of this record now change hands for
silly money.

Official reissue in replica of original gatefold artwork.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

Detroit producers Omar S & Brian Kage team up to bring you Thru the Madness EP.' Thru the Madness' has all the elements of a classic dance music collaboration.

The tune showcases Omar S raw and funky analog bass playing and drum programming combined with Brian Kage signature warm melodic synth lines and chord structures. The clever use of a catchy 90's vocal sample helps solidify and unify the composition.

Thru the Madness (Honk & Nik Mix)' takes a deeper approach by adding a deep Detroit-style DX pad, Nile Rodger-esque funk guitars parts, and vintage drum breaks that will keep the party moving into the late night hours. Like Dutch & Dillon from Predator, some times you gotta Get Thru the Madness!'