Search:help

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

‘The Nature of Nature’ is the debut LP by Hanegi Koen, the Japan-based creative duo composed of British ¦lmmaker Sam King and Canadian label head Sean Mallion (ADSR Collective). Picking up where they left off with their 2021 EP ‘Well Worth A Visit’, this album continues the legacy of spaced-out ambient guitars and driving analog beats the band nicely cued up for us. It has continuity from their previous work, going even deeper this time, further de¦ning the contours of their sound. As the title suggests, Nature was a big influence on the record. Many of the track titles are from the season they were recorded in – for example, ‘Hanafubuki’, when the cherry blossoms fall, ‘Tsuyu’, the rainy season, or ‘Kaminari’ which was written during a crazy thunderstorm. The sights and sounds of those times are reflected in the tracks, with ¦eld recordings helping to supplement the atmosphere. Hanegi’s founding ethos of only using analog instruments and drum machines to compose and perform, minimizing the need for the computer as an interface, is alive and well in this album. The tracks got tested in front of an audience and improved on, based on feedback from playing them live, leading to a psychedelic, synth-rich, analog journey. “We like all things analog. We both use computers and digital screens a fair amount in our day job, so it’s nice to give our eyes a rest from that and allow the music to be created from everything we have on the table.
Similarly vinyl records, ¦lm photography, and simply walking around outside in the forest – all these things are a way of slowing down and escaping the digital world.”

Greatly influenced by the wild contrasting outdoors of their home in Japan, the mountains, forests, and ocean, ‘The Nature of Nature’ is an open invitation to unplug to reconnect, a feeling that Hanegi Koen want to share with you. Released on August 18th, on vinyl and digital via Subtempo. Credits: Written and composed by Sean Mallion and Sam King Mixed by Aoki Takamasa Mastering by Manmade Mastering Album art by Laine Butler Design by Rocco Tyndale

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.

At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.

‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.

The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of time

Rather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.

While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

2023 Repress

Following Robert Hood's remixes of his Floorplan tracks 'Never Grow Old' and 'Phobia' in May, he's back with new edits of 'Protein Valve', originally released on M-Plant in 1994, the year of the label's inception. As well as other early releases like 'Internal Empire', 'Music Data' and 'Moveable Parts', 'Protein Valve' helped set the standard for his M-Plant label becoming synonymous with a stripped down, tough and rhythmic raw sound that many artists still try to emulate. The original 'Protein Valve EP' is a classic in the annals of Techno, which still gets played today and sounds as fresh as it did some 20 years ago. Nevertheless Robert Hood takes an introspective look back and delivers these three incredible new edits! Focussing on the bass elements these fresh versions keep the M-Plant ethos at their core with their pure efficiency and Hood's mastery at getting right to the point of a track, with his focus always on the groove.

Kharkiv born artists Komponente & Kurilo have been an integral part of the local scene in the past years both as DJs, Live-Act and Producers.

Now further apart since the beginning of the war they are still united in music and we are happy to finally share this EP with which was originally conceived when both artists were still Kharkiv based during the pandemic.

Kurilo has since made the journey to the New York via Berlin in recent months. While Komponente took refuge in Kyiv for some time after having sat out most of the fighting in and around Kharkiv while lending a helping hand to families and elders who couldn't manage or didn't have the means to leave the city when russia attacked.

At this point we are just happy and thankful to have both of them still with us and to be able to finally get this EP out which by now seems to have travelled from a past life to us in the here and now.

Pandemics or War this is Electronic Music charged with pure emotions produced during one crisis, released during the next and we will still dance to it during whatever comes next!

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Italian DJ and producer Sourires (aka Andrea Antognoli) joins the Samosa stable for his debut with an explosive release that will take your breath away.

The EP kicks off with the title track, Pampasosa - a furiously groovy number which gets up right in your face from the get-go. Like an unstoppable train, Pampasosa hurtles along at 127bpm with its horns blaring and furnace blazing. De Gama is on the Re-Groove here, expertly applying the bells and whistles to this all powerful locomotive stomper.

A2 brings us ‘Liam’, which sounds like a track very close to Sourires heart. Think of glorious evening sunshine after the rain for this emotionally charged piece of music. The bass has you hypnotised, the strings make you soar and the vocal haunts your dreams. It bares its soul to you and you can’t help but love it for that.

On the B-side, ‘Keep Rolling’ (De Gama Re-Groove) gives no illusions as to what its intentions are. A rolling, bass-driven start builds to filtered vocals and punchy brass - we’re in house territory but it’s so much more than that. A prime-time fist pumper of a tune, this will have dance floors offering their souls to Sourires in exchange for good times.

Finishing off this four tracker is ‘Flavor’ (De Gama Re-Built). At 124bpm, it sneaks past you and taps you on the shoulder. Continuing the house vibe, Sourires brings us a swinging beat accompanied by dreamy vocals and subtle filtered keys. Strings and delicate guitar licks build to a glorious breakdown which reveals itself in full technicolour. Summery, sassy and sexy stuff.

Sourires has deliverdd a modern classic with the Pampasosa EP. This has to be in your record box for the summer - just watch the dance floor go!

Welcome to the music of a true outlier in UK creative culture, an artist that has helped change the landscape of electronic music, KRUST.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Black Magic Woman, birthed out of the production outfit of Ron Trent featuring Harry Dennis most known for his previous work with Larry Heard. Harry Dennis one of the leading poets to come out of house and contemporary music in the 80's and 90's.

Being on the forefront of songs by storefront groups powered by both Larry Heard and Marshall Jeffereson The IT and Jungle Wonz critically acclaimed dance classics "Donnie" and "Time Marches on" helped revolutionize dance inteligenca world wide . Together with Trent's production they weave a spell with this ode to the power of the feminine form " Black Magic Woman".

Previously released and powering dance floors globally, Sacred Medicine brings you a set of revisions by production and DJ master Joe Jouquin Claussell who's edit and revision has been highly sought after for the past 4 years along with our young and upcoming talent producer and DJ Coflo. By the introduction of Casmena from Ocha records Coflo first approached us with his remix 4 years ago and now under our direction we are putting it to work. These magical forms are now ready for you to explore and generate power into your world.

Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.

Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”

Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).

With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”

This latest instalment of ARTHUR BAKER Presents DANCE MASTERS finds the production/ song-writing/ remixing maestro taking the spotlight for a long overdue snapshot of his own classic 12” mixes during a crucial evolution of dance music, club
and pop culture.

“I’ve always felt like I was on a mission to make music from the time I heard Motown, Philly and Sly and the Family Stone. My mission started as a hobby and still feels like one now. You’ve got to keep on pushing and hustling. It can be a drag sometimes but
if you really love what you’re doing, it’s worth the work. I still really love what I do.”

Arthur Baker helped codify the remixer as artist. His genre-fluid approach to projects
has resulted in a joyous myriad of classics that spans many decades. This ’80’s focused DANCE MASTERS collection offers a welcome glimpse at Baker’s illustrious career and many long out-of-print 12” versions and previously unavailable mixes.

This 35-track, six LP expanded edition includes a wide array of selections from the likes of Robbie Nevil’s “C’est La Vie,” Fleetwood Mac’s “Big Love,” Neneh Cherry’s “Buffalo Stance”, Jeffrey Osborne “Soweto”, Freeez “I.O.U”, Rockers Revenge “Walking On Sunshine” and of course the juggernaut “Planet Rock” with Afrika Bambaataa & Soulsonic Force.

Complete with in-depth liner notes by Bill Coleman, track by track notes written by Arthur Baker himself, previously unseen session photos from Arthur’s personal archives and a signed insert.

All tracks remastered by Nick Robbins at Sound Mastering

Repress!

Showcasing his renowned nu-disco stylings and the evolution of his musical outputs from club delights to international hits, today Purple Disco Machine, the moniker of German disco house producer Tino Piontek, shares his stellar new single ‘Hypnotized’, marking the next era for the critically acclaimed project.

With an artist name that pays homage to 80’s funk hero Prince and the uplifting dance beat of Gloria Estefan’s ‘Miami Sound Machine’, Purple Disco Machine was destined to bring together the elements of synth pop, funk, Italo Disco. With over 250 million streams across his works to date, and a recent run of A list remixes for Dua Lipa, Mark Ronson, Robert Surace, Foals and Sir Elton John, Purple Disco Machine impresses once again, creating a modern and sophisticated take on the decade that has inspired him so greatly. Further announcing his sophomore LP for release in the next year, 2020 will see Purple Disco Machine deliver his most outstanding work to date.

Enlisting the help of indie British newcomers Sophie and the Giants on the single, Purple Disco Machine, adds their alluring vocals to the instantly engaging melody, and funk fuelled bassline, that has become synonymous with so many of his dance-fuelled hits.

Reissue of one of the Ultimate Soukous banger !

Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat.

Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions.

After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed.

Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies

Next up on BPitch's sub label UFO Inc is a hyperactive package of sonic oddities from Alex Wilcox. Having arrived in Berlin by way of Dallas, Texas, Alex continues to build a name for his truly eccentric production style and genre-defying DJ sets.

123 is an ascending spiral into the weirder corners of electronic music by a producer who is unafraid to let the wheels come off. Deranged, delirious, and surreal, it's an essential package of eccentric techno.

The Key To Our Love compilation series is an in-depth exploration of Black & Brown American soul artists from back in the day.

Focusing on the sweeter side of these obscure singles, the album comprises of musicians who shared their hope & dreams through independent vinyl releases. The obscurity of these private pressed singles has limited their audience; originally released in small quantities and sold locally, the artists remained largely unknown but created some of the most poignant & timeless tracks.

Each song released in direct collaboration with the artists & producers.

Artwork by El Ponk

White Vinyl

Greyscale #10 is here for the masses! To make things even more exciting, the long awaited is a double vinyl edition! Submersion has been on many top deep and dub techno labels in the past 15 years such as Silent Season, Space of Variants, Milieu Music, Deep Electronics, diametric, Rohs! and more. A landing at Greyscale makes complete sense for the quality Submersion is known for. 'Entrainment' is for those deep dub techno fans that like extended atmospheric tracks surrounded by a heavy ambience. 3 of the 4 sides have 1 track to its entire side making the fidelity of these top notch! 'Transversal, Planetary, Capsule' fills up side A with an amazing and gentle intro that has ominous clouds on the horizon. The beat is distance, while the nuances of the airspace is fully dedicated to submerging you deep within. A truly magical and enveloping sound. The next track to uncover is 'Filter, Gradation, Centrifuge'. Imagine that the earth is a ever-evolving dub techno track and you were viewing or listening to it from the distance of the moon. This would be it! There is a tremendous distance that is created in this track where chords flow and move like clouds over large areas of distance. Sometimes, the best description is a visual one if it helps. Breathtaking! 'Stimulant, Perspective, Sensory' starts the next piece of vinyl with another epic one. It morphs like a planet is being formed before your eyes. Basslines move like mountains while chords strike like distance thunder. The last side has 2 tracks sharing the side. 'Reflectance, Reverberant, Cortisol' and 'Predawn'. The first is a grandious ambient number that sounds heavenly while the last featured song is equally stunning as almost a reprise of a previous. Entrainment will be available on white 180-gram double vinyl as well as CD digipak and digital. These are all supersonic soundscapes to immerse yourself in! Masterpieces!

Repress!

It can take a while for an artist to find their musical voice. For Alex Andrikopoulos, it’s been a journey that’s taken the best part of two decades. Now he’s set to mark a major milestone in his transition from record store owner, label co-founder and DJ to producer with the release of his long-promised first solo album for Leng, Waving. The Greek artist first joined the Leng Records roster in the autumn of 2020 and has since gone in to release the acclaimed ‘Punta Allen’ EP for the imprint. Before that, he spent the first decade of the century running the popular Radical Sounds record shop in Athens, before refocusing on running Quantized Music with fellow DJ/producer Tolis Q and developing his DJ career, where his unique blends of disco, house and techno tracks earned him bookings at some of Europe’s most storied clubs.

Waving, which appears on the back of a handful of fine EPs for a variety of labels, is his boldest and strongest statement yet as a musician and producer. Created with a little help from guest musicians and collaborators including keyboardist Artis Boriss, bassist Brotha Gilla, percussionists Ilario Arnel and Harold Perez, pianist Luciano Ledesma and guitarist Alex Searle, the album brilliantly blurs the boundary between 21st century disco, afternoon-ready downtempo grooves, and the kind of dancefloor-minded Balearic fare that’s devilishly difficult to pigeonhole.

Fittingly, the set begins with previous single ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness which slowly unfurls before rising towards and gorgeous and joyous conclusion, and ends with the squelchy, slo-mo cosmic funk of ‘Patrol Di Caribe’, where trippy synthesizer lines, layered percussion and more tuneful style pan style lead ins catch the ear.

In between, highlights are plentiful, from the driving, piano solo-laden dub disco brilliance of ‘Down My Soul’ and the languid, sun-kissed, beach-ready downtempo grooves of ‘The Jamail Pass’, to the rubbery, pitched-down electrofunk of ‘Window Spells’ (featuring a fine lead vocal from Max Giovara, the flash-friend, dubwise Balearic funk of ‘Waving’, and the throbbing brilliance of ‘La Di Da Di’, whose crunchy Clavinet lines, fluid electric piano solos, snappy drums and pulsating, arpeggio-style bass encapsulate all that is good about the album.

The digital edition of the album also comes bundled with eight more tracks not featured on the double-vinyl LP. Featuring the same blend of expansive musicality, organic drums and dancefloor nous, this octet effectively extends the album via a string of similarly playable, club-ready and sofa-friendly tracks. Standouts include the non-stop, nu-disco-meets-house excellence of ‘Large Stacks’, Hammond-laced head-nodder ‘Take The High Road’, horizontal Balearic funk shuffler ‘Prezend’ and hazy, vocal-sporting dub disco roller ‘Angels of Rhythm’, which previously appeared on the flipside of Lex’s ‘Punta Allen’ 12”.

Recent times have seen After Caposile become one of the most sought after locations on the underground circuit, and this reflects in their acclaimed record label - Caposile Music. This Spring they have prepared a stellar release of firm favourites from the club. “The Sound Of Garden” release will come in two parts, both on 12” and will include a heavy hitting lineup such as Romanian duo Super Moon (Arapu & Priku), family members and residents Maggio, Francesco Maddalena, and Yaar Kü, Silat Beksi, Mihai Pol, Giuliano Lomonte and Sublee. A perfect blend of club affiliates, coming together to provide the soundtrack from that famous garden.

Volume One kicks off with the dynamite combination of Arapu & Priku under their Super Moon moniker. Hypnotic movements set a serious tone for the journey ahead, mysterious elements simmering throughout “I Can Help”. Dreamy meets dance floor in Maggio’s aptly named “Just Landed” floating synths calmly lift you, but you remain grounded by the killer elasticated groove. After delivering the previous EP on the label Yaar Kü returns with a stripped back encounter, his unique touch shining bright. Silat Beksi provides a certain sunshine jam with his track “Jaho”, you immediately feel the warmer times are coming, after parties in the sun.

Landing just a few weeks after is the equally special Volume Two, packed full of ammo for the tastemakers. Mihai Pol inaugurates proceedings with “Sugar Rush”, the 7 minute quest boasts shimmering synths and a sweet bass line to match. Francesco Maddalena ups the ante with his garage influenced “Breath Of Air”, an energy boost for the peak times of the party. Giuliano Lomonte’s “More Time” rumbles from the get go, begging to be played on a high quality system to allow each of the intricate details to speak for themselves. Last but not least is Sublee, his “Day Six” track is a chugging body of work, blurring the lines between house and minimal with a raw edge.

With a huge European tour on the table, and a release of this stature After Caposile are flying high at the moment with an indispensable team behind the project. Expanding on their party paradise location, but simultaneously propelling innovative underground sounds under the Caposile Music offshoot. Both Volume One and Two will land this May, right on cue for the summer time madness.

Recent times have seen After Caposile become one of the most sought after locations on the underground circuit, and this reflects in their acclaimed record label - Caposile Music. This Spring they have prepared a stellar release of firm favourites from the club. “The Sound
of Garden” release will come in two parts, both on 12” and will include a heavy hitting lineup such as Romanian duo Super Moon (Arapu & Priku), family members and residents Maggio, Francesco Maddalena, and Yaar Kü, Silat Beksi, Mihai Pol, Giuliano Lomonte and Sublee. A perfect blend of club affiliates, coming together to provide the soundtrack from that famous garden.

Volume One kicks off with the dynamite combination of Arapu & Priku under their Super Moon moniker. Hypnotic movements set a serious tone for the journey ahead, mysterious elements simmering throughout “I Can Help”. Dreamy meets dance floor in Maggio’s aptly named “Just Landed” floating synths calmly lift you, but you remain grounded by the killer elasticated groove. After delivering the previous EP on the label Yaar Kü returns with a stripped back encounter, his unique touch shining bright. Silat Beksi provides a certain sunshine jam with his track “Jaho”, you immediately feel the warmer times are coming, after parties in the sun.

Landing just a few weeks after is the equally special Volume Two, packed full of ammo for the tastemakers. Mihai Pol inaugurates proceedings with “Sugar Rush”, the 7 minute quest boasts shimmering synths and a sweet bass line to match. Francesco Maddalena ups the ante with his garage influenced “Breath Of Air”, an energy boost for the peak times of the party. Giuliano Lomonte’s “More Time” rumbles from the get go, begging to be played on a high quality system to allow each of the intricate details to speak for themselves. Last but not least is Sublee, his “Day Six” track is a chugging body of work, blurring the lines between house and minimal with a raw edge.

With a huge European tour on the table, and a release of this stature After Caposile are flying high at the moment with an indispensable team behind the project. Expanding on their party paradise location, but simultaneously propelling innovative underground sounds under the Caposile Music offshoot. Both Volume One and Two will land this May, right on cue for the summer time madness.

It all started with waiting music for the city of Ghent information telephone line.


City composer Fulco Ottervanger (Cruise Lento) envisioned a music in which waiting time would serve as an invitation to stillness and presence. Long-term friend and producer Lieven Van Pée (Vectrex) turned out to be the ideal companion.


However, the music was never used, yet it had not missed its magical effect. The two gentlemen were now determined to make a full ambient album in which silence would play a leading role, both intuitive as well as elaborated down to the smallest unit of time... An additional approach was to make music to lull their newborn sons to sleep. With melodies simple, sounds sweet and silences deep.

Inspiration came from Haruomi Hosono's 1984 obscure classic Watering a flower, Eric Satie's Vexations and how could it be otherwise, John Cage's 3'44. What these progressive yet universal compositions have in common is a refinement of repetition and both a soothing and stimulating character.


As a listener you can't help but dive into the silence and experience an certain sweetness. The ideal record to rest to, to wake up to and enter a wider field.

Ukranian artist Azotti delivers four tracks from his catalogue on 140g single 12 inch vinyl release courtesy of Blackhole Recordings. These are full length versions.

Due to the current situation in the Ukraine, both The Record Republic and Blackhole Records will be donating their shares of the profits directly to Azotti so he can purchase essential items and directly help those that are in the most need.

Any moment can crash your emotional state of mind. You are looking for help. You can’t find it with-inside of you. A Diamond shines twice a day. The night can be day and vice versa. We love you, no doubt. Our friends love you too. Do you love yourself? A Zebra is not a unicorn but is still unique. Who are you to tell us We can’t do it? EUPHORIC SPIRITS EUPHORIC SPIRITS Women are strong and full of love and positive energy. This life is a gift and you should genuinely use it. Read a book. Internet TV connects your brain to something not valid; remember that. We still love you. You are beautiful. Come with us to hidden spheres and find your inner voice. Shock, Projection, Ideals, Sorrow, Disaster, Fundamental, Weak, Strong, More, Less.

We love you. Follow us to the planet of our inner fears, and we do magic. It will become another planet. Together forever. We love you.

Death Is Not The End's 333 sub-label follows the reissue of Devon Russell's Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail - Robert Ffrench's 1985 LP 'Wondering'.

Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early '80s, the Wondering LP followed closely after two acclaimed LP sets ('Showcase' produced with Lord Koos & 'The Favourite' for Ossie Thomas' Black Solidarity label - plus a split showcase LP with Anthony "Gunshot" Johnson for Jah Thomas' Midnight Rock label).

Ffrench would write and produce the Wondering LP himself in it's entirity, laying down the tracks at Herman Chin-Loy's Aquarius & Michael Carroll's Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald "Nambo" Robinson among others, with Beres Hammond also providing backing vocals in places.

Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White's Parish label - and founded his own 'France' label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on 'Modern Girl', and with US rapper Heavy D on the track 'More Love'. Robert's productions released through later label 'Ffrench' would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single "Ruler" on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles 'Everyday of My Life' and 'Black Is a Colour' in late 2022 and Feb 2023 respectively, available through all digital platforms now.

333, under exclusive license from Robert Ffrench.

SlothBoogie Records return for 2023 with a five tracker from Moonee.
Groovence Discs boss Francois Lefevre is well versed in deep grooves and has been releasing some of his finest discoveries on the label since 2015. More recently he's been making his own deep and atmospheric productions under the Moonee moniker which took off in 2020 thanks to debut track Faith & Sorrow. Collaborations with some of the French scene’s finest producers Mangabey and Tour Maubourg soon followed as well as a remix for Sweely’s banger 'I Gotta Keep On'.
The Wabi Sabi EP on the label landed in 2022 and was highlighted by Juno's editorial team as 'a sumptuous, slowly building chunk of intergalactic deep house beat loveliness'. That same EP caught the SlothBoogie crew's eye and they immediately began working on presenting a selection of Moonee's tracks that would celebrate their shared love of deep yet pumping Disco and House sounds.
The Primal Groove EP was born and it starts off with 'Apples', a Motor city soul drenched track with filtered bass, dusty horn samples and spaced out guitar licks. Shuffled along by MPC beats before an otherworldly vocal washes over and brings it all to a close. 'Shishingo' is up next with it’s clever vocal manipulation, bouncy drums, subtle organ flourishes and a skipping bassline that builds up to some good ol’ time piano workout. Completing the A side is 'Dinner At Michelle's'... the most disco cut of the 12''. More shuffling shakers and filtered guitar loops backed by a thumping kick and ever circling strings leading the way for a full on 4/4 workout.
Flipping over to the B sides introduces us to the title track 'Primal Groove' that takes us deep into a nostalgic trip with its string swells and filtered bass. Moonee is flexing his deep house muscles on this one as snappy percussion punctuates more MPC sampling, building tension towards the reveal of the main heads down groove section… classy business. Finally for dessert is 'Boka' a sumptuous glistening track that’s primed for beachside sunsets. Saturated with hypnotic vibes that’ll help you drift away into a calmer, more peaceful sanctuary

Italian DJ and producer Francis De Simone debuts on Lee Foss and Jamie Jones' label Hot Creations with London Bass. Having built a solid back catalogue in recent years, his first Hot Creations release embodies the dynamic sound of the Palermo-born artist, channelling chunky tech house and disco-flavoured melodies.

De Simone explains his creative thinking behind the EP. "These tracks fully express my devotion to music. I ranged a lot, trying to remember an 80's sound up to a more raw and synthetic groove with Latin vocals to embrace the different ethnic groups." Reflecting his thoughts to a tee, the title track rumbles with a massive bassline and chopped-up vocals that add an instant burst of energy. Things get weird on Saludos A Todos, as thumping kickdrums collide with a trippy melody and even trippier vocals, creating a wavey atmosphere. The ideal club curveball. On Off White, De Simone delivers a pacey number packed with burbling beats and clicky percussion, complemented by dreamy vocals. The hint is in the name on closing track, This Is Undergound. A big room delight, De Simone drops a stripped-back banger, where the lyrics do the talking in tandem with a driving bassline. An excellent addition to the Hot Creations discography.

Based in Palermo, Italy, Francis De Simone stems from a family of musicians. Having played the drums from age two, the versatile artist can make anything from rock, pop and jazz, but these days, De Simone pens electronic music. His father worked as a bouncer for various local discos and exposed De Simone to dance music from a young age, later inspiring him to produce house and techno with an uplifting tint. Releases on Glasgow Underground, LW Recordings and REALM Records have helped shape the profile of this flourishing artist, with plenty more to come further down the line.

I am proud to present the first EP featuring artists from my Patreon community on Electric Ballrom. A project very close to my heart, Patreon is a place where like minded people from across the globe meet, share knowledge and help each other grow. The first result of this a joint effort, every track a road tested gem, showcasing the raw talent and dedication of the artists. (Thomas Schumacher)

2022 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre.

His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With 9 Is A Classic, Slaves To The Rave, Pitch-Hiker, Stereo Murder and We Have Arrived, just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties!

The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp.

All original tracks have been re-mastered to the highest possible standard of quality.

• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.

• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.

• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.

• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.

• The release is packaged in the original album’s gatefold sleeve.

'A Winged Victory For The Sullen' is the first installment of the new collaboration between Stars Of The Lid member Adam Wiltzie and L.A. composer Dustin O'Halloran. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, hunting down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end.

Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began with one late night session in the famed Grunewald Church in Berlin on a 1950's imperial B?sendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last session on a handmade Fazioli piano in a private studio on the Northern cusp of Italy, before the final mixes took place in a 17th century villa near Ferrara with the assistance of Francesco Donadello. All songs were then processed completely analogue straight to magnetic tape.

Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to dangerous territory, realising that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic ingemination. In 'Requiem For The Static King Part One' ? created in memory of the untimely passing of Mark Linkous ? they have taken the age-old idea of a string quartet and then shot it out of a cannon to reveal exquisite new levels of sonic bliss.

Of the 13 minute track 'Symphony Path?tique', Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing'. Notable guest musicians include Icelandic cellist Hildur Gudnadottir, as well as Erased Tapes label comrade Peter Broderick on violin. A Winged Victory For The Sullen is not a side project ? it is the future of the late night record you have always dreamed of. A Major release for Forte, Non exportable.

Chilean-born Francisco Allendes returns to Crosstown Rebels for the first time in six years this May. Serving up the three-track What You Do, the title number has already received global airplay via Damian Lazarus himself. Now, the full release will be made available next month and includes a remix by US-legend Harry Romero.

A contemporary dose of four-on-the-floor house, What You Do leaves few prisoners in its wake, as rampant drum patterns converge on a heady combination of kicks, synths and irresistible vocals right the way through. There’s an infectious energy to the track, paving the way for Harry Romero’s similarly up-tempo remix. It’s feel-good, club-ready dance music at its best, packed full of low-slung groove that opens neatly into the closing sequence: Maratone, a stripped-back, techy cut that bears all the hallmarks of a true Ibiza anthem.

Hailing from Chile and now based in Ibiza, Francisco Allendes is a leading light in today’s scene. Be it Loco Dice’s Desolat, Steve Lawler’s VIVA or Damian Lazarus’ Crosstown Rebels, his productions have graced some of the industry’s most well-respected labels. Such quality hasn’t gone unnoticed - he picked up the ‘Best Ibiza’ DJ Award in September 2019 and has gone on to complete several South American tours. A much loved affiliate of ANTS, Francisco has a long standing residency at both Ushuaïa in Ibiza and their affiliated tours, in addition to hosting the weekly radio show.

Seminal American house talent Harry Romero is a well-established figure on the worldwide music circuit. A prominent global DJ and producer since the ‘90s, early productions on Cutting Records and Cutting Traxx helped set the tone for Harry’s career trajectory, opening the doors to a coveted BBC Radio 1 ‘Essential Mix’ in recent years.

Debut album from Alex Ho out of Los Angeles.

In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city's uncanny, immediately recognizable light; "The late-afternoon light of Los Angeles—golden pink off the bay through the smog and onto the palm fronds." Weschler traces the city's mysterious refracted light from the iconic paintings of David Hockney through the city's frequent portrayal on film and TV, noting its ability to put residents into a state of "egoless bliss."

Similarly, Alex Ho's new album for Music From Memory, 'Move Through It', radiates with the unmistakable LA glow. While the Pasadena native's studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city's most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out.

Though it's his first record, 'Move Through It' is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. "Mark," the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio's brilliant score for Brian De Palma's 1984 film Body Double. Ho's stunning, pure falsetto soars above gentle melodies. "Miss Suzuki," the piece that originally caught the ear of MFM's Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho's facility for poignant melodies—easily conveyed through saxophone, vibes, various keyboards and his own voice—shines on "College Crest Drive," as well as the title track. The lyrical "Move Through It" and the restrained and beautiful closing cut, "TYFC," are abetted by glimmering Kraut guitar figures courtesy of John Jones.

While Ho's rhythms and melodies paint a crystal-clear musical vision, the music's emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, Move Through It falls within a canon of sun-addled records spanning from Herb Alpert's "Rotation" to Dam-Funk's Private Life trilogy as Garrett. An immersive and concise statement, Alex Ho's 'Move Through It' is as warm and uncanny as the city that inspired it, a definitive LA album.

Back in 2015, when we started Hip Dozer we were overwhelmed by the amount of talents that were still defending that old school way of doing beats and the amazing creativity that was circulating in the scene.

In a period of time where hip hop was evolving so much and getting always further (sometimes for the best but also for the worst), it appeared evident to us that we had to defend this rising scene of young beatmakers that were so tied up to the roots of the 'old-school' beatmaking but still bringing it to another level.

It has been 5 years since we have created Hip Dozer Records with our 1st Anniversary compilation and this is what makes this compilation such a special project every time. Its goal remains the same and will always be, championing the art of beatmaking that we love and help to showcase new artists from the scene.

This year we have the chance to have onboard some of our favorite new talent from the scene with the like of Burrito Brown, Loland, Imagiro, we also have the chance to have standard bearers like Jinsang, Saib, Flofilz, Melodisinfonie, Kazam, Shuko and, cherry on the cake, the french hip hop legend DJ Cam on top of that.

We want to thank so much all the artists who took part in this project and that were as enthusiastic as we are in its realization. It’s been such a thrill since this venture started and this is just the beginning. Much love to all of you guys listening and supporting wherever you are.

PEACE. Hip Dozer Fam.

Anané Electrifies With New Version of Dancefloor Classic “Get On The Funk Train”

Known worldwide as one of the New York City’s most vibrant, charismatic and talented producer / DJs, Anané is uniquely positioned to bring light to the 1977 Number 1 Disco Hit “Get On The Funk Train,” originally released by the Munich Machine and produced by the renowned Giorgio Moroder

In addition to being a singer Anané is also DJ with residencies in New York, Ibiza and Naples. She knows how to move the dancefloor and how to elevate the mood of the room from first creating the vibe to getting the crowd into a groove; ultimately taking the dancefloor into full fledged party mode. Her strong and distinctive character can be traced to her experiences growing up in Cabo Verde’s capital city of Praia located on the island of Santiago during a time of extreme political strife, and to her many years of working hard to establish herself in the always competitive music industry. It takes a lot to tackle a classic and make it uniquely your own, but that’s exactly what Anané has accomplished with this fresh and vibrant new version of “Get On The Funk Train.”

With her wealth of talent as a performer, Anané is also highly accomplished as a record label owner. Her Nulu and Nulu Electric imprints over many years have been the source of some of the most played and sought after club bombs in the Afro House genre that is currently in vogue with DJs around the world. Her Nulu Movement line of merchandise represents the stylish, cutting edge fashion vibe of her NYC residency at Le Bain in the Standard Hotel, with designs created by Anané herself.

As befitting an artist so well respected and admired in the community, the producer and remixer team behind this project consists of several of the most legendary and successful producers in the industry. The recording was originally produced by Grammy Award winning producer / artist Louie Vega, one of the world’s premier producers who has the rare distinctive of attaining massive success in multiple genres including House, Freestyle, R&B and just recently he has been focusing on revitalizing the great musical genre known as Disco. The production includes live strings arranged by two of the most highly accomplished members of NYC’s storied musical history Patrick Adams & Leroy Burgess, and electric guitar by Carlos Alomar, formerly David Bowie’s music director. Remixes were supplied by Todd Terry, a man who is known as one of the original New York City based producers who help create the House Music genre that we know today, and by the recently formed production team of Michael Gray and Mark Knight, two of England’s most respected and successful producer / DJs. These two stars of the industry have generated a uniquely groove focused remixer style that has had DJ’s worldwide eagerly waiting each new production.

This year marks 3 years of Needs.

From humble beginnings in 2017, the label has since gone on to release tracks from some of our favourite artists in the scene, curated events with essential charities and initiatives, and in the process raised over L10,000.

To mark this special occasion we're back where it all started, raising money and awareness for mental health. October 10th marks World Mental Health Day and this year's theme set by theAWorld Federation for Mental Health is suicide prevention. To recognise and promote this occasion we've brought along another all-star cast to help us spread the message far and wide.

Needs 008 is a double vinyl compilation which features the talents of Shanti Celeste, OCB, Michelle, Bobby., Peder Mannerfelt, Yu Su, Adam Pits and DJ Sports.

Stay tuned to the Needs channels during our birthday month for regular updates, plus panels and artist features.

We'd also like to take this opportunity to say a big thank you to everyone that has supported us this far: especially Juno Records, For The Record PR, all artists that have kindly donated their music, and of course the music lovers, dancers and forward thinkers that have supported us on this wonderful journey <3

Repress!

A MAJOR EXPLORATION OF TOKYO'S CUTTING EDGE 80S SOUND THROUGH THE MUSIC OF CULT JAPANESE LABEL NIPPON COLUMBIA AND ITS BETTER DAYS IMPRINT, SELECTED BY BRITISH RADIO PRESENTER AND DJ NICK LUSCOMBE.

‘Tokyo Dreaming’ is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. For the occasion, we’ve teamed up with journalist and Japanese music expert Nick Luscombe who was granted rare access to the much-guarded Nippon Columbia's vaults for a masterful selection encapsulating the fascinating sound of Tokyo in the late 70s and 80s. The selection mixes electro, synth-pop, funk and ambient and features such artists as Ryuichi Sakamoto, Mariah, Shigeo Sekito, Juicy Fruits, Hitomi "Penny" Tohyama and Yumi Murata. The tracklist includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. The album has been designed by famed London-based designer Optigram and is annotated by Nick.

Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late 70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time.
According to Nick, “Tokyo Dreaming is a look back to an incredible era of Japanese music, that still sounds and feels like the future. It was a moment when brand-new music tech from Japan helped forge new ideas and experiments that permeated pop, soul and jazz and helped create new forms of music including electro and techno. The perfect meeting point that would help create a new soundtrack for modern living.“
?The selection starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut "Thousand Knives Of" (reissued last year by Wewantsounds). The track became a staple of Sakamoto's and YMO's live shows and was even re-recorded by the group for their 1980 album 'X Multiplies'. The track is followed by Mariah's cult Armenian folk flavoured synth pop classic "Shinzo No Tobira" (1983), which first spread outside of Japan when the Scottish DJ duo Optimo started playing the track regularly at their shows.
?Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of City Pop.
?'Tokyo Dreaming' superbly showcases the breadth of 80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-enfused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' "kawai" robotic Techno pop song "Jenie Gets Angry".
?The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album "Kareinaru Electone (The Word) Vol.2" which, although recorded in 1975, perfectly announces the synth revolution to come. Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future.
Nick Luscombe is a highly respected and in-demand music influencer who discovers great music from all over the world and shares it internationally through his many radio shows and DJ sets. He has been in charge of music selection for various radio programs since 1999, and from 2010 - 2019, was the DJ for the popular BBC Radio music program "Late Junction”. He has also curated and presented music shows for Monocle and British Airways radio stations. He has worked as both Chief Music Editor at iTunes and Director of Music at London’s Institute of Contemporary Art, and is the founder of MSCTY.

Twenty vinyl releases is a strong landmark in any labels life most especially in these ever unpredictable days. Tropical Disco Records have reached that number with some verve. Over the last three years they have had a succession of chart-topping, sell-out releases fusing their love of the Jazzier edges of house music with contemporary disco and plenty of sure-fire club hits. So successful has the label been that they have in a short space of time that they have quickly become one of the most established labels releasing across the disco spectrum.

As you would expect Tropical Disco Records have put together a very special collection of tracks to celebrate their twentieth edition. Uniting Italian producer Paul Older with England’s Tung-Sol, Greek disco don C. Da Afro and London’s label head Sartorial the EP marks all points on the European compass. It’s an EP which shows the clear impact that Disco has had across the continent and indeed that we are all united by the power of music.

The opening move goes to Paul Older with his delightful track ‘Nothing’ and it’s the perfect feel-good moment. Wonderfully warm vocals, layers of Saxophone, guitar licks aplenty and some tight drum programming give it an energetic live feel as if Salsoul’s band are playing this in the corner of your club. ‘Nothing’ is a track which transcends pigeon holing and as such is perfect for a variety of situations from sun soaked day parties to peak-time dance-floors.

Tung-Sol’s ‘One for Frida’ is packed with layers of brass giving it a truly enigmatic feel. It’s a track which has discernible African overtones but as seen through the lens of American funk and transcribed by a disco loving auteur. Its effervescent feel is hammered home even further with the addition of Jazzy keys. ‘One For Frida’ is as multicultural a track as you will find in the Disco pantheon and as such will see this picked up by a multitude of genre hopping DJ’s.

‘Shiva’s Chant’ see’s label co-boss Sartorial adding Eastern influences to what is already a globe trotting selection of sounds on Volume 20. Its smooth keys and brass stabs give it an undeniable charm which will see it in heavy demand with sun worshiping DJ’s and for summer playlists alike. Sitars, guitars and trumpets combine here for an intoxicating mix of sounds which help this track stand out from the crowd.

Closing the EP out is perhaps Disco’s most prolific producer C. Da Afro. His sure hands deliver yet another club smash in the shape of 'Street Jam'. Powerful strings immediately establish this as a track which has no intention of letting you do anything other than dance with abandon. It’s a straight to the dance-floor combination of percussion, guitar licks and delightfully effusive vocals. Combining the best moments of 70’s disco he’s crated a sensational club jam.

With their twentieth release Tropical Disco Records continue to redefine the notions of what disco is in 2020. With releases this exciting we can’t wait for the next twenty.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

Following the tragic passing of Philippe Zdar last summer, Ed Banger and Glitterbox Recordings have come together to release the final collaborative Cassius production, with the blessing of Hubert Boombass and Philippe’s family. This special vinyl only release features their remix of Fiorious’ powerful call-to-resistance anthem ‘I’m Not Defeated’, a record that captures the energy of historical protest songs, and inspired remixes from Honey Dijon and Catz ‘N Dogz with critical acclaim. The B-side has been specially etched, and the release will be limited to just 2000 pressings, making this a true collector’s item. Described by Fiorious as “an inspiring eight-minute tour de force and the most bittersweet gift to all of us,” all profits from the 12” will be donated to Rainbow Railroad, a Canadian charity working to help the LGBTQ+ community escape persecution and violence.

Speaking of the record, Ed Banger founder Pedro Winter said “Zdar played me the remix while we were heading to the last gig we would ever played together. He knew he and Boombass had delivered a banging remix. The original song was already one of the strongest of the year and adding Cassius’ powerful groove, hypnotic drums and these unifying chords would make this remix an instant classic.”

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

OutOfStock is back in business, and it’s doing fine.

We’ve selected four tracks made by a duo which chose to remain incognito.

It’s suitable for various situations, moments, places. 
It's very helpful for DJs. 
Very pleasant for listeners. 
We recommend using this product on a proper sound system. 

Nothing can stop you now!

High quality laquer cut LP with silver and pink pantone colors on cover.

Mutual Intentions is proud to present "Astral Traveling" which is Byron The Aquarius' debut album. A stunning piece of fusion built from everything between jazz, soul, hiphop and house makes Mutual Intentions a perfect platform for the release. String compositions is an on-going theme throughout the album. From the first chord on "Love Is 4U", until the very last second of "Spazzing Out", where Byron raps over a beautiful backdrop consisting only of Fender Rhodes, electric bass & strings. Byron jumps seamlessly between different genres throughout the whole album. From the acid house inspired "Sorry Kari", to 70's prog jazz sounding cuts like "Lost In Love". Once you put the needle on side B, you'll hear "Deep In That ***** feat. MDMA" which sounds pretty much like if Dexter Wansel took MDMA in 2019, inside Legowelt's studio and tried to re-create his classic cut "Theme From The Planets".

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.

Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.

Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.

American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.

It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.

This is a beautiful EP of deep, dynamic house music.

After the original comes the remix. Or in this case three. I:Cube, Chinaski and Aera help you refresh your memory and re-draw "Drawn From Memory" from Benjamin Fröhlich's second part of the "Rude Movements" series. It's one single track, but every remixer has taken his very own approach and came up with a new interpretation.

The iconic French producer and Permanent Vacation long time favourite, I:Cube, transformed the original into a soul warming and heart melting late night bomb that lets the sun appear even in the darkest places. Chinaski out of Frankfurt, well known from his releases on Live at Robert Johnson and Uncanny Valley, fuses Italo Disco with a John Carpenter-style soundtrack aesthetic and an infectious bassline completed by a full on guitar solo in the break. Aera, fresh from releasing his album on Permanent Vacation, is slowing down the tempo, rearranging the layers of the original and adding a bubbly and underwater atmosphere that let the dub stabs shine. Three different versions that may represent different memories of one long night.

Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''

Good job, then, that he gets to spend his ..

Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.

Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.

In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music.
The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki.
Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.

At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.

More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.

The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.''
Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour.
He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere!
From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Adam Beyer is back on Drumcode with an impressive array of tracks that will get the senses tingling and shows us what Drumcode is all about. These 4 tracks are deep and almost melancholic in their approach to techno, using effects to really help enforce an ambience only Beyer can achieve within his productions. The under lying throbbing of the drums drives this EP into the forefront of the heads down Drumcode sound and have been heard in many of Beyer's phenomenal sets throughout the year.

repressed !

Ideal Audio presents the fourth and final instalment of Oliver Huntemann and Dubfire's seminal ELEMENTS series. These techno heavyweights have worked together on numerous projects over the years, but it is their Elements collaborations that have shone impressively as a complete body of work. AGUA is the final piece of the music puzzle and completes the series that first saw the light of day back in 2010 with the scorching FUEGO. 

2011 brought us TERRA, firm and powerful with its devastating breakdown. 2013 saw us breathe in the mystical AIRE, harnessing the elements of the previous tracks to build a fresh and magical moment. AGUA, as its name suggests, flows effortlessly, helped in no small part by the sultry vocal of Xenia Beliayeva, but kicks in equal measure. 

Signing off in such style has also lead to Ideal Audio drafting in some heavy weight talent on the remixes. Carl Craig, under his C2 moniker, dives straight in to strip the original to its core. A single drum beat, siren, clap... and then the kick. Petar Dundov twists the original's elements into a bubbling acidic stream that washes over us.  An impressive package for an impressive finale! 

We kick off 2013 in style with an Ep from Kiiroy. It´s always exciting for us to be introduced to a new artist. Especially when we are blown away by their Music. For his debut on Cellaa Music Kirroy brings a bouncing track which is perfect for all floors. Please help this new label get off to the best of starts by listening well and leaving considered and constructive feedback. Thank you.

30 years old Kiiroy is using freaky instruments and concrete sounds, our lovely boy, always keepin his distinctive funky´n´groovy attitude. Deep, fresh and seductively satisfying, this tune was designed for the discerning Dancer.

A bumper remix is lead by Stefano Libelle who bring a trademark deep house tune with a weighty, warped bassline and euphoric break. Here he strips the original to it´s essential parts. The super dry kickdrum and percussion in combination with the dark bassline together create Stefano´s own deep-house vision.

deutsch:
Wir starten mit einer EP von Kiiroy stylisch ins Jahr 2013. Für uns war es schon immer aufregend, neue Künstler vorzustellen, ganz besonders, wenn uns ihre Musik umhaut. Für sein Debüt auf Cellaa Music präsentiert Kiiroy einen bouncigen Track, den man auf jeden Floor einsetzen kann. Wir bitten euch, unser neues Label bei seinem Start zu unterstützen, indem ihr euch den Track genau anhört und uns Vorschläge und konstruktive Kritik zukommen lasst. Vielen Dank!

Der 30-jährige Kiiroy verwendet eine freaky Instrumentierung und harte Sounds. Unser Liebling, der stets bei seinem bezeichnenden, funkigen und groovigen Stil bleibt. Die Melodie ist deep, frisch und verführerisch und somit ideal für den anspruchsvollen Zuhörer.

Stefano Libelle liefert mit seinem Remix ein schönes Deephouse-Stück ab. Mit einer deepen, verschrobenen Bassline und euphorischen Breaks reduziert er das Original aufs Wesentliche. Die supertrockene Kickdrum und die Percussion in Verbindung mit der dunklen Bassline sind die Zutaten von Stefanos ganz eigener Deephouse-Vision.

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music scenes of Uruguay and Argentina from the 1960s to the present. Alongside Eduardo Mateo, he pioneered candombe-beat during his time with the legendary band El Kinto. In the early 1970s, he fused Afrobeat with rock in the trailblazing group Totem and later helped define the distinctive jazz fusion sound of Opa-collaborating with the Fattoruso brothers and Airto Moreira during his years in the United States. In the 1980s, Rada settled in Buenos Aires and assembled a powerhouse band featuring top talent from both Uruguay and Argentina. Together, they created a series of unforgettable albums that fused candombe with jazz and rock-marking one of the most celebrated periods of his career. Adar Nebur, originally released in 1984, captures Rada and his band at their peak. Backed by a stunning horn section, they blend Latin rhythms with jazz, soul, and the new wave sounds of the '80s. Now, more than forty years later, this hidden gem is being released internationally for the first time.