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“God Is A DJ” is the new full-length by Joe T Vannelli, an album the DJ and producer has been working on for years, 13 to be exact, since his latest LP came out. The album features sixteen unreleased tracks and features huge names from all over the musical scene, both italian and international. God Is A DJ is already a cult musical project, that the house music lovers all around the world have been waiting for for years.

The two LPs take the listener through a musical journey mixing different sounds and styles: the first four tracks on Side A lean towards a melodic house sound, the very same genre that JTV took to the top of the game with his “Live On Tour” series of streaming – 62 streamed gigs from different places in Italy, from April 2020 throughout the pandemic. Fifteen million views with a valuable representation of the italian territory.

Amongst the tracks on Side A, the 2022 remix of “Voice In Harmony”, one of JTV's biggest hits, and the long-awaited new version of “Children”, by Robert Miles, which was taken to the top of the charts by the same Joe T Vannelli in 1996.

Side B features collaborative works with some italian producers fresh off the top of international house charts: Moreno Pezzolato for “Doctor House” and “Paradise” remixed by Federico Scavo e Cassimm, licensed worldwide by Happy Music and Kontor Records.

Side C opens with the Angelo Ferreri remix of “Where Is My Man”, #1 on Traxsource, then moves on to two big featured artists: the first one is Saturnino. His bass is perfect, on this 70s funky style piece which echoes the biggest and boldest productions of music history. The second one is the remix of “Paradise” by Mario Biondi, made by JTV
himself who gives the track a soul/funky mood and an international sound inspired by Alicia Myers, who already worked as a muse for “Thank You” by Busta Rhymes. A song like “Sacrifice” by The Weeknd works along the same lines.

Side D, instead, is pure, distilled Vannelli-sound: house music for house music lovers, led by the afro-house beat by Silvano del Gado for “Booma Beat” and followed by the “Harlem” remix by Angelo Ferreri, and “Across The Universe” reinvented by the young producer from Veneto Reboq. The album closes with “Shavasana”, a meditative yoga number inspiring total relaxation.

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.

Much in demand album from 1986.

Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

FOR FANS OF: Big Thief, Parquet Courts, Cate Le Bon, Elliott Smith, LVL UP. On their debut for Western Vinyl, recording engineer and multi-instrumentalist Nate Mendelsohn and his band use lyrical maximalism for the powers of good. Where Market’s previous home recorded releases shifted genre restlessly, on The Consistent Brutal Bullshit Gong Mendelsohn took a core band of longtime collaborators to a house in rural Massachusetts where they carved out space for his words to speak through with humor and intensity. Though he comes from a background in experimental music, Mendelsohn’s ear for pop has prevailed. Certain moments on Bullshit Gong reveal his stranger side, as on the thundering bridge of “Scar,” which sounds like a more unhinged Parquet Courts, or the angular “I Would Do That,” which takes cues from Cate Le Bon. On the whole, though, this band of close friends insists on directness, their arrangements clear despite the intricacies. Guitars and synthesizers tangle fluidly atop the rhythm section’s tight bedrock, evoking the tenderness and backbeat-centric qualities of Elliott Smith or Big Thief. After college, where he met most of the members of Market, Mendelsohn became an engineer and producer at the Brooklyn studio Figure 8 Recording. Through that community he’s recorded artists like Frankie Cosmos and Wendy Eisenberg, and played with Yaeji, Vagabon, Katie Von Schleicher (who co-produced Bullshit Gong with him), and Sam Evian, who mixed the album. Creating intimacy out of manic self-reflection requires a delicate balancing act, one Mendelsohn tackles with abandon. His words never skew too poetic or grandiose, and when he invokes the ugly it’s met with a sonic tonality that sets him right again. In tender moments, his voice is often flanked by bandmates Natasha Thweatt or Von Schleicher, who help skew his words toward the universal. Still, Bullshit Gong is an obsessive look inward, one in which Mendelsohn simply asks himself if he is good to those he loves. It’s an act of trust between the artist and the imagined listener he takes with him. UK press campaign by Silver PR. Mendelsohn has worked in the studio as an engineer and musician with Frankie Cosmos, Yaeji, Sam Evian, Wendy Eisenberg, Thor Harris, Rebecca Black, in addition to touring as a member of Katie Von Schleicher’s band. Market developed a cult following emerge after being championed by British comedian James Acaster, who featured the band’s first album in his book Perfect Sound Forever and his follow-up podcast for BBC Sounds.

Daniele Ippolito compose songs of Ambient, Synthwave, New Age, Dark-wave, Progressive and Soundtrack styles. He dislike to define himself under a specific style cause his influences goes from Italo-Disco to classic music and from SoundTracks to Dark-Wave. He already collaborated for some artists of Pop and Techno music. But his foundations will stay on the 80’s style sound called also 80s revival, one of his phylosophy is to work with only vintage synthesizers hardwares who will give to his songs a warm and unique.

Classic Elvis Presley LP 'His Hand In Mine' + 4 bonus tracks pressed on bronze coloured 180g vinyl - limited edition and includes a sticker

Studio album number 10 is now ready, and the anniversary is marked by what the band itself refers to as 'The Dogs 2.0'

They have recruited the star producer Chips K, who, in addition to producing
bands such as The Hellacopters, Sahara Hotnights and Millencolin, has played in
both Sator and Thåström. Locked up in the venerable Athletic Sound for a few
weeks last summer, they gave Chips free rein to manage the song material they
had given him 18 months prior. During the past years, via numerous releases and
massive touring, The Dogs have established themselves as one of Norway's
hardest working and most critically acclaimed bands. They have played sold-out
gigs all over Norway, supporting the likes of Bruce Springsteen as well as
Kvelertak on their European tour. The Dogs serve up intense, flat-out rock 'n' roll,
with A- list celebrity and TV and radio personality Kristopher Schau's ferocious
voice leading it all. The Dogs will embark on a massive release tour in Norway,
Sweden, Denmark, Germany, The Netherlands, Belgium and The Czech Republic
in March and April 2022.

Bazan got his start playing to the Christian rock scene, but the narrative
arc of his albums has traced his crisis of faith and his questioning of the
Evangelical Christian world in which he was raised
Yet, this record is not a final statement, not a "breakup letter to G_d." It's the
deepest and most explicit exploration of his struggles to date, and a meditation
on all things passed between the generations, and for the first time in a while,
Bazan seems actually interested in re- engaging in conversations with the
Evangelical community about his doubts (for example, for the first time in years,
he'll be playing huge Christian music festival Cornerstone this summer). Curse
Your Branches is a masterwork by a modern American poet (Paste called him one
of the "100 best American songwriters" in a piece that followed the release of his
solo EP Fewer Moving Parts) at the height of his powers.

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

Part of this series is Pharoah Sanders’ Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fal

"Good To Be is a sort of homecoming for the five-time GRAMMY Award winning artist, most recently for 2019’s Oklahoma. Having recently renovated his childhood home in Compton, CA the album is heavily inspired by his connection to both Compton and where he finds himself now at the intersection of Country and Americana in Nashville, TN.

While it sonically contains the blues influence we come to expect, there’s a stronger country tinge thanks to production from country legend Vince Gil and help from Keb’s good friend Darius Rucker, who features on the first single “Good Strong Woman”. Outside the music, Keb’ collaborated with the Compton Cowboys, a local non-profit deeply rooted in the community who are re-introducing cowboy culture to South LA. A striking image of Keb’ driving a vintage Oldsmobile Dynamic 88 through the streets of Compton, flanked by the Cowboys on horseback, will be a part of both the album artwork and a music video. "

RARE RECORDINGS BY SEMINAL HIP_HOP GROUP TUFF CREW - This record is a double album vinyl set w/ unreleased bonus material/tracks. - Tuff Crew is known throughout the world as Philly's first Rap super group. They've toured extensively with some of the biggest names in Rap music such as Public Enemy, Run-DMC, Biz Markie, Big Daddy Kane, Rob Base and LL Cool J. The response to Tuff Crew's music has been nothing short of stellar. On a national level, their single "My Parta Town" peaked at #23 on the Billboard Rap charts, while their album Back to Wreck Shop reached #74 on the Billboard R&B album charts. Estimates of Tuff Crew's global sales are in excess of three million units. Tuff Crew's body of work has resulted in a dedicated legion of fans across the world and their DJ Too Tuff has been the recipient of various accolades throughout his career. DJ Z-Trip advised that the technique of DJ Too Tuff inspired him to be a scratch DJ. Three time global DMC scratch champion DJ Q-Bert also notes Too Tuff as one of his inspirations. And A-Trak, Kanye West's DJ, has also voiced his adoration of the turntable techniques of DJ Too Tuff. Although Tuff Crew made an incredible mark on the musical landscape, they unfortunately fell victim to bad management and infighting. It was during this time period that DJ Too Tuff, the man behind legendary Tuff Crew sound, gathered the finest of Philly's underground MC's and began work on a solo project. The new Tuff Crew album, containing the finest of DJ Too Tuff's solo work, is entitled DJ Too Tuff's Lost Archives. DJ Too Tuff's Lost Archives will be highly sought after, and is destined to become an instant collector's item. For fans of of Eric B and Rakim, Public Enemy, Ultramagnetic MC's, Run DMC and Wu-Tang Clan, this record is not to be missed.

Following Pre-Choreographed released in April 2020 where he mixed his classical pieces with electronic sounds and started developing the relationship between dance and music, Japanese pianist Koki Nakano is back with Oceanic Feeling. The music deals with his inability to fully live in this so-called oceanic feeling, capturing thus the composer's longing, frustration and ultimately search for harmony within his own limitations. He composed much of Oceanic Feeling while watching dancers move to what he played and the album's singles come accompanied by mesmerizing videos featuring renowned choreographers and performers such as Tess Voelker and Marion Motin. Musically speaking, Nakano is constantly moving through the grey area between intellect and instinct on Oceanic Feeling. Tracks oftentimes feel simple, and in that simplicity, genuinely touching. Yet behind every piano key is a complex, layered recording system developed by the artist himself that gives sounds a unique depth. Oceanic Feeling is an impressive avantgarde journey that moves and stirs without ever losing balance.

The second album from the transatlantic duo Wilma Vritra is richly orchestrated, replete with references to faith, mythology, and the cosmos, its 11 tracks grapple with themes of self-preservation and refuge from the world, even as they edge their way to a sort of redemption. Grotto is the work of two musicians separated by an ocean but undoubtedly operating on a shared wavelength. One is Will Archer, a Newcastle-born but London-based multi-instrumentalist and composer who today records as Wilma Archer, but who you might also know for his writing and production for artists like Celeste, Nilufer Yanya and Jessie Ware. Wilma Archer’s debut solo album A Western Circular, featured guest spots from the late MF DOOM, Future Islands’ Samuel T Herring, Sudan Archives and Laura Grove. The other is Hal Donell Williams Jr, aka VRITRA - a Los Angeles-based rapper whose tales of graft and grind are often couched in spiritual or cosmic terms. VRITRA has previously collaborated with Matt Martians via The Jet Age of Tomorrow, Pink Siifu and YUNGMORPHEUS. Grotto’s striking cover image is by Swampy, an enigmatic Californian street artist whose itinerant lifestyle – tales of squatting and train-hopping across North America – have made him a demi-mythical figure. A playful image, but it communicates the album’s themes – of a voyage through darkness, and the promise of light at the end of the tunnel.

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

Strut present the first ever reissue of an essential lost classic from the Black Fire catalogue, Wayne Davis’ powerful self-titled gospel-soul album from 1976.

An accomplished vocalist and keyboard player, Davis had studied in Washington D.C. and had worked with Roberta Flack and she subsequently secured him a recording deal with Atlantic Records; he released the 'A View From Another Place' album in 1973 and Roberta contributed electric piano to one of the tracks. Davis was the dropped from the label and his subsequent album was released by Jimmy Gray on Black Fire. Produced by Jimmy Watkins and Bias Studios manager, Bob Dawson, the album line-up featured the celebrated poet and flautist Wanda Robinson and the horn section from legendary D.C. go-go pioneers Experience Unlimited. Wayne later returned the favour, appearing as a vocalist on Experience Unlimited’s seminal 'Free Yourself' album.

This first international reissue of the album features new sleeve notes including band member interviews and original illustrated artwork by Muzi Branch. Audio was transferred from the original tapes by the album’s engineer, Bob Dawson, and was remastered by The Carvery.

• First international reissue of Wayne Davis’ album from 1976

'I've been obsessed with western swing since I was a kid, and it's always
been an influence, but my records in the past have ranged from bluegrass
to hard country to folk, So I've never fully explored it' - So says genrebusting Fargo-born, Austin- incubated, Nashville resident Brennen Leigh,
whose new collaboration with the kings of modern-day western swing,
Asleep at the Wheel, Obsessed With The West, is a showcase not just for
the Bob Wills fans, but for anyone who's ever curled up with Loretta Lynn,
Hank Sr, Cindy Walker, Billie Holiday, or Willie Nelson
On twelve all original songs, Leigh's supple winking voice and multi- instrument
fluency, her interplay with Ray Benson, and the undeniable chops of the Wheel
serve up a treat on Leigh's seventh album. With cameos from Emily Gimble and
Katie Shore, and all the players getting their moments in the sun, Leigh - a twotime winner of the Texas Music Awards Best Female Vocalist award -
demonstrates on the terrific jump 40's rhythm and blues, 'Comin' in Hot' and the
lonesome cowboy musing of 'Riding Off Onto Sunset Boulevard' why Rodney
Crowell and Lee Ann Womack have recorded her songs. Obsessed With The West
is a celebration of music for music's sake in 2022, not just an exercise in looking
back on times gone by.

Retro-Future beats for stubborn ravers.
Phase O'Matic is a London based promising producer.
Philoxenia is delighted to have him on board.

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

In addition to having quite possibly the greatest beard in techno, Will Clarke has proven himself an unstoppable force in the genre. Will now returns to Factory 93 for his second release on the label, “Mirage.”

Will prompted a firestorm of “ID?” requests when he dropped it in his live-streamed Escape Halloween set last fall, and for good reason. “Mirage” brings together ferocious, chugging low-end and an instantly-memorable melody that modulates constantly throughout the arrangement, fine-tuning the energy to create an absolute bomb of a track.

“Mirage” will also mark Factory 93’s first vinyl release, with his first Factory 93 outing “Sometimes You Gotta Let It Go” gracing the B-side. Look out for it in a shop near you.

PUBLISHED: 25TH APRIL 2022

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

Vordergrundmusik’s Rittik Wystup returns with a slightly-so avant-garde collage of Piano and Beats. Little melodies awake spuriously, welcoming Spring; they interplay with sizzling cymbals and flamboyant drums. The usage of wind is the carrier throughout the record, just as coastlines bring a strong breeze of cool or warm air.

The overture "Rhythm of the Wind" opens a space of gusts and drafts which circle the EP’s leitmotif. Shifting keys only slightly, it’s a calm prelude to the following track.

"Drums in the Deep" tells the story of a drifting wanderer, voiced by Stepan Terteryan, at the shore of Armenia’s Lake Sevan. His poem can be heard throughout the track, mumbling away as he feels the ground beneath him shaken by roaming bears.

"Three Droplets in Space" presents falling water drops, lifted by a steady, sharp beat. As they approach a large pool, they increase in size and weight, becoming more round and abundant. A gnarly FM bass and frozen hi-hats make way for the passage through the thickening air, blitzing the little leitmotif here and there.

Staying in key, "I Exhale" whispers an ascending piano phrase into the air, which upon reaching for the sky reforms into an unwavering, repeated, slightly melancholic expression. A homage to a valley of bells and chimes, it bursts and blasts into tiny fractions before it evaporates.

Traditional drums and plucked strings progress through "Might y Mist". Before they lose themselves in a faraway landscape, feet stomp and heads bob. As they meld into a fog, carrying debris of the wanderer’s voice and his melody, they spread like a mist: over the water’s surface.

Finally, Timo Maas drops a hefty and punchy remix of "Drums in the Deep". He picks up on the poem and its inclinations but keeps the dancefloor in mind when shattering glassy bits over distorted fragments of the melody. A splendid pumpy finisher to a fairly eccentric EP.

L'Aventura arose from the Brazilian heat and the French romanticism. This is the history of Sebastien Tellier's fantasy childhood in Brazil, arranged by the local cult figure Arthur Verocai. A wild mixture of love, dreams, sun and landscapes.

"For this album I wanted to rewrite my childhood. I chose to place this adventure in Brazil, land of splendour and joy, with an eternal childish soul." Sebastien Tellier

The recording produced by the artist took place between Paris and Rio de Janeiro during the year 2013. These adventures brought him into Jean-Michel Jarre's, Bernard Estardy's, and Philippe Zdar's (Cassius/Phoenix) studios. Zdar who knows so well how to make the French music sound internationally sublimates the ten tracks of this album, in halfway between the elegancy and the required level of a maestro and the immediacy of a popular song.

This sixth opus was composed and writed by Sebastien Tellier. For the first time of his career, all the lyrics are written in French. Gainsbourg is not far, like a tutelary figure, Christophe as a springboard, who lets him more space to express himself, and Lucio Battisti, the Italian made him understand that singing in his native language was possible.

L'Aventura is a record of shores stretching in an everlasting restart. Naive art carried by an openheart and childish vision of the creation, close to his classic Sexuality (2008).

Praised for his genuine originality, the American-Canadian Rufus Wainwright has established himself as one of the great male vocalists and songwriters of his generation. In 2004 he released Want Two, his fourth studio album. According to Wainwright himself, it is the darker sibling of 2003’s Want One - its subject matter concerned with “the world we live in” after Want One focus on the intensely personal. Wainwright produced the album in collaboration with Grammy Award winning British producer Marius de Vries, who is best known for work with U2, Madonna and Björk.

His mother Kate McGarrigle and aunt Anna McGarrigle both sing on the track “Hometown Waltz”. The album also features Wainwright’s popular tracks “The One You Love”, “Agnes Dei” and “Old Whore’s Diet”. The latter features Anohni from Antony and the Johnsons.

Want Two includes an insert with lyrics.

The Yorkshire songwriter's stirring sophomore release 'if only it was
alright now' acted as an impressive bookend for the Beech era landing
him a feature on Atwood Magazine's 'Artists to Watch for 2021' citing him
as "uniquely visceral and vulnerable"
The track also received appraisal from the likes of BBC Introducing, landed a spot
on Spotify's 'Fresh Finds' editorial playlist and the wordsmith's latest single
'something', released February 2021, has quickly become his greatest success yet
with Radio X's John Kennedy declaring the track "absolutely fantastic".

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

French label Aldente presents their new soul tropical single. On flute, you'll find Jazzamar from the Brazilian Electronic Jazz Nu Tropic associated with french beatmaker Lord Funk under the name Tropical Combo.

The A side entitled "Jungle Fever" talks by himself, a warm time in the African forest we are between "An Elephant Called Slowly" and "The Chackachas".

The B side "Incredible Bongo Flute" is an uptempo track as a tribute to the classic "Apache" with hot bongos, congas & flute. Put the needle on the record and this soul tune will make you think about the pressure on a cypher with B.Boys. Join the battle and make a break!

Protean producer Jaymie Silk returns to Shall Not Fade with an intensely club-driven LP. On "The Rise & Fall Of Jaymie Silk & Rave Culture" a range of vocal samples tell a story over assertive rhythms that switch rapidly so that hard-hitting acid becomes breaks before melting into sleazy, low-end bass techno. Strap in!

It"s not easy to anticipate how any release from the Paris-based Jaymie Silk will sound. A self-proclaimed musical nomad and a real jack-of-all-trades, his artistic identity is defined by its undefinability. With this release - a follow-up from "The Legend of Jack Johnson" EP released on Shall Not Fade last year - Jaymie references the kaleidoscope of sounds which inspired him to make music in the first place.

Sampling an iconic Malcolm X speech, the force of which is bolstered by giant synth swells and clattering percussion, "Freedom For Everybody" places the album in the context of diaspora and resistance - themes that run ever-present through Jaymie's music. With "The Heat", he pays tribute to late '80s dance music, with a classic Lyn Collins drum break sample and diva-esque vocals. The hard-hitting acid-tinged techno of "Start Swinging" sees the album at its most assertive before "Bad B" takes things camper with deep bass pulses and
pitched-shifted vocals which affirm "I'm a bad bitch, yeah you heard about me". "Cats Love Drums" offers another direction completely with polyrhythmic percussion and real meow's before the two closing tracks leave a taste of sentimentality, with a major-key vocal melody and a giddy 150BPM pulse ("Waiting For The Day") and an intimate slow burner ("Take Time To Breathe").

The Rise & Fall Of Jaymie Silk & Rave Culture LP drops 6th May via Shall Not Fade.

It is no surprise that the most populated Serpente record to date is also his most vibrant and emancipated. With collaborations from Maxwell Sterling, Kelly Jayne Jones, Pedro Sousa, Vasco Alves and Gabriel Ferrandini, “Dias da Aranha” is a leap from previous releases like “Parada” and “Fé/Vazio”, both on Ecstatic.
 
If you’re keeping in touch with Portuguese electronic music, then Bruno Silva’s music should be no stranger to you. If you’ve also been keeping tabs on his evolution throughout our catalogue, you’ll notice how mature and resolved his sounds feels in “Dias da Aranha”. There’s no restrain here, the beats evolve in a self-confident way and the way it assembles and incorporates other people's sounds is a bliss. Go straight to the last track, “Ritos de Poeira”, and listen to how organic everything feels, the endless rhythm and how Pedro Sousa’s saxophone is incorporated as a beautiful hopeful lament. Just put it on repeat. Bliss.
 
We have never heard Bruno – as Serpente or Ondness – so sure of himself. Escapism is very present in his music. In the past the idea of searching for it was key, in “Dias da Aranha” he lives in it. It is daring and luminous, streaming a continuous beam of bright ideas, making sure that they find the right course on their own (“Meio Ondness”). It never stops, keeps evolving, getting better and finding ways to surprise the listener. In some moments you can listen to the music breathing. Or sense some kind of field recordings shape. It doesn’t rely anymore on the idea of music as a work in progress. This is evolution. Welcome to the Serpente Era.

The new 7" features the single, 'Romantic' which is a song about struggling to fit in, feeling down and finding comfort in romance. Connecting with someone because you both feel like you don't belong. "I gravitate towards things that bring me down, I always have, at least I know that now. Never forward, I thought all I had was the past. I used to think each birthday would be my last." "I sat inside on the brightest, warmest days. Everything I loved would always run away. Misery taught me everything I knew and then there was you." The B-Side is a cover of the Wedding Present song 'Octopussy" from their 1991 album Seamonsters. David Gedge himself said about the cover "Thanks... nice. Always interesting to hear different interpretations!" "God knows I've always had to fear the worst, but not that time. You brought me home and then you kissed me first. You were all mine." "A celebration of personal freedom" - DIY Magazine "Hekt's solo debut is part self-interrogation and part community offering, serving up tiny bursts of joy and doubt as refuge for anyone navigating a similar path." - Pitchfork "A first-person directness and grunge-schooled contrasting of melody" - Mojo

Coleman Leslie McCann, known as Les McCann, is arguably the most soulful jazz pianist of the sixties. All you have to do to be convinced of this is to go and listen to him, all business ceasing, with Eddie Harris, in concert in Montreux, on June 21, 1969. This recording is a monument in the history of soul jazz.

But before this concert, the trio of Les McCann with Herbie Lewis and Ron Jefferson, imposed a new style characterized by joy and pleasure, to play, to groove, to listen. Impossible in a Les McCann concert not to participate in his joy, in his desire to share, impossible not to beat time.

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
The 2009 fan favourite and iconic 'The Ballad of John Henry' will be also available
on coloured vinyl for the first time, has been remastered on 180g heavyweight
2LP brown vinyl and includes a bonus track – B.B. King's "Chains and Things."
Bonamassa's seventh studio album saw him steamroll into another US Billboard
Blues #1 as well as it making waves across the charts around Europe. Well on his
way to becoming a superstar, several Bonamassa originals adorn the album as
well as covers of Tom Waits, Sam Brown and Ike & Tina Turner, highlighting the
sheer scope of his palette.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

THE DEBUT STUDIO ALBUM OF EERIE DEATH/DOOM METAL DEPRAVITY
FROM GREG WILKINSON & CHRIS REIFERT OF US GORELORDS,
AUTOPSY
Static Abyss is the new mouthpiece for a rotten age consisting of the duo of Greg
Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of
legendary American masters of sickness Autopsy, with Greg (also of cult act
Deathgrave) recently welcomed as new bass player for the long-running US act's
next studio opus & beyond.
Static Abyss' debut studio album, 'Labyrinth of Veins', presents an unnerving,
multi-layered eerie concoction of dirty doom & death, including themes exploring
the echoes of insanity manifested through human existence. The result, a sinister
onslaught of at times slow & bludgeoning brutal metal whilst at others whipped
into a storm of chaotic vile hysterics. The spirit of Autopsy is at times present in
the truly titanic riffs swathed in chilling atmospheric guitar leads, whilst Chris'
seemingly bottomless pit of morbid inspiration from the dark & twisted corners of
life permeate the release with his highly distinguishable delivery to further the
descent into madness.
'Labyrinth of Veins' was recorded at Earhammer Studios in Oakland, CA, & Great
American Music Hall, with engineering, mixing & mastering overseen by Greg
himself. Cover art appears courtesy of All Things Rotten.

With her latest work, the TOKUNBO delivers a warm-hearted blend of folk
and jazzy pop, with a cheeky hint of country
An album like a golden autumn day. She wrote the eleven tracks for “Golden
Days” during Lockdown 2020, when the musician had to cope with both the
unpredictable situation as an artist as well as a young mother – challenging, yet
also inspiring weeks and months.
Thrown back on herself, she conjured up the new songs from memories, thoughts
and wishes. Music for the soul, earthy, luminous and gentle, which wraps itself
around the listener like a soft blanket and lets him see the beauty in this
sometimes dark-looking world.
The album is also a stylistic salute to the classic songwriters of the 70s such as
The Carpenters and Carol King. TOKUNBO sounds grounded, and at peace with
herself and the world.

Two hip-hop legends that are both part of historic groups themselves, are
forming a new group - Havoc, from the Queensbridge bred Mobb Deep
(rest in power Prodigy) and Styles P of The Lox, straight out of Yonkers,
are forming Wreckage Manner
Both Havoc and Styles P have collaborated with a number of artists in recent
years. Havoc released joint albums with Alchemist, Flee Lord and Dark Lo. His
last solo album was in 2014, the same year as the last Mobb Deep album. Styles
has teamed up to release projects with Talib Kweli, Berner and Dave East in
recent years. In addition to new music from The Lox, Styles P has released at
least one new album every year since 2018.
On the album, Styles P raps over Havoc's gritty, piano- laced production. Havoc
also gets busy on the mic and lets his opponents know that for all his success,
he's still the same kid from 41st Side.