Cerca:holy

Released during the late 1970's Disco era, Milton Wright's sophomore long player has always stood out as a singular, innovative example of the deepest, rarest grooves known to underground Soul lovers all over the globe. This often overlooked body of work has found a whole new audience who revisited the man's work retrospectively, pushing the LP into the domain of "holy grail" status amongst Black music lovers and Funk fanatics. "Spaced" has been at the top of the wants lists of serious music lovers for decades, often unattainable and commanding stellar collectors prices on-line, sometimes fetching amounts of upwards of £400. This unique LP could be perceived as being Wright's most personal work, tragically overshadowed by the burgeoning successes of his then label mates on Miami's Alston Records imprint. The sheer craftsmanship and songwriting prowess on show is undeniable, as is the top level musicianship and production, sounding ridiculously fresh almost some 40 years later. Above Board distribution has collaborated with Alston / TK Records to ensure the quality of this fully legitimate repress of this long lost Soul / Funk classic has been maintained. Remastered, reissued and represented with the full cooperation of the license holders for 2016. Do not pass up the chance to own a true gem, a pivotal, lost LP like "Spaced", now made available again to be enjoyed by all. "Magic Music".

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

The 14th release on Ohm Series features tracks by Bluetrain aka Steve O'Sullivan, Fletcher, Rai Scott and Anthony Georges Patrice!
This is one of the strongest releases so far on the series, curated again by label boss Bjarnar Jónsson aka OHM.
Don't miss!

Netherlands-based artist Jonny Nash returns to Melody As Truth with his new solo album, ‘Once Was Ours Forever.’ Building on 2023’s ‘Point Of Entry,’ this collection of eleven compositions draws us further into Nash’s immersive, slowly expanding world, effortlessly connecting the dots somewhere between folk, ambient jazz and dreampop.

While ‘Point Of Entry’ was characterised by it’s laid-back, daytime ambience, ‘Once Was Ours Forever’ arrives wrapped in shades of dusk and hazy light, unfolding like a slow-moving sunset. Built from layers of gentle fingerpicked guitar, textural brush strokes, floating melodies and reverb-soaked vocals, moments come and go, fleeting and ephemeral.

From the cosmic Americana of ‘Bright Belief’ to the lush, layered shoegaze textures of ‘The Way Things Looked’, Nash’s versatile guitar playing lies at the heart of this album, gently supported by a cast of collaborators who each add their unique touches. Canadian ambient jazz saxophonist Joseph Shabason makes a return appearance, providing his delicate swells to ‘Angel.’ Saxophone is also provided by Shoei Ikeda (Maya Ongaku), cello by Tomo Katsurada (ex-Kikagaku Moyo) and Tokyo acid folk artist Satomimagae (RVNG) lends her haunting multilayered vocals to ‘Rain Song.’

As with much of Nash’s work, ‘Once Was Ours Forever’ deftly finds an equilibrium between softness and weight, offering the listener ample space to interpret and inhabit the music on their own terms. Through his uncanny ability to blend the pastoral and the profound, the idyllic and the insightful, ‘Once Was Ours Forever’ arrives as a tender and understated offering, infused with warmth and compassion.

For many italo disco fans, Dyva is nothing short of a mythical name. A cult act surrounded by mystery, legend, and endless debates fueled by pure passion. And it all started with their iconic track “Oh Mama Tonight”, which, adding fuel to the fire, was released only as a promo single. That rare Boot Legs vinyl became the holy grail for collectors, a lifelong hunt for true italo enthusiasts.

After just three official releases (the last one in 1990), Dyva seemingly vanished from the face of the earth… Until the early 2000s, when Finnish italo aficionado Kimmo Salo tracked them down in Sestri Levante, Italy. That unexpected meeting sparked a brand-new chapter, both for Kimmo’s soon-to-be-born label Flashback Records and for Dyva’s founding members Roberto Calzolari & Massimo Traversoni. Encouraged by Kimmo, the duo returned to the studio to bring back to life not only their long-lost 80s demos but also fresh new material.

This album is a true time capsule, covering the period between 1986 and 2024, featuring never-before-released single versions, true gems. For any die-hard Dyva fan, this is nothing less than an essential addition to the collection.

Another Sensation Records holy grail returns: “Flying Dream” by Frank Hino again on vinyl.

Here comes another Italo disco diamond rescued from the depths of the legendary Sensation Records catalogue. Majestic, rare, and long sought-after, Frank Hino’s “Flying Dream” is a true gem that has captivated collectors for decades.

This hypnotic masterpiece was brought to life at Punto Musica-Emme Studio in Florence, where it was programmed by Egisto Bitossi – the genius also behind the cult classic “And I Love Her” by Sir Valentine.

A dazzling slice of ’80s Italian energy, Flying Dream is a floor-filler full of twists and turns – sweet, spiraling arpeggiators give way to rock-tinged climaxes, all carried by a charismatic vocal and a magnetic melody. It’s bold, beautiful, and utterly unforgettable.

No wonder collectors have been chasing it for years, though original pressings are nearly impossible to find, and when they do surface, the prices are sky-high.

But now, Vintage Pleasure Boutique is answering the call of every true Italo enthusiast with a brand-new vinyl reissue of this iconic track.

Rare. Radiant. Reborn. Get ready to own a piece of Italo disco history.

On side A of cmdrpx07 we find 3 of the best artists on the scene with their unique and unmistakable style.

On side B three young Italian artists already known for their productions released on vinyl.

The iconic DJ Sotofett comes with a real treat--a 12-track album on Clone West Coast Series that showcases a playful take on electronic music. Immerse yourself in the vibrant world of DJ Sotofett & The Colours of Computer Generated Instruments. With 12 electrifying electro tracks that blend a wide spectrum of rhythms with 80's Nintendo console vibes and holy grail analog vs digital synthesis, this album is a jubilant celebration of that sound. Prepare for an exhilarating journey filled with surprises, seamlessly transitioning from acid infected vibes and catchy electronic pop to groundbreaking avant-garde electro cuts. Each track intricately weaves together influences from over 40 years of electronic dance music, inviting listeners to explore the rich tapestry of genres that have shaped the landscape. As you delve deeper, you'll uncover the intricate layers and innovative production techniques that define Sotofett's distinctive style, transforming this album into more than just a collection of tracks -- it's a true sonic adventure that beckons you to listen, dance and dream.

Black Music has always been the main source of inspiration for contemporary music and for the IRMA records label, which turns 37
this year, it is a fundamental part of its musical vision.
In the 80s with the birth of the term Acid Jazz this international scene began to emerge that fished out the Soul Jazz Funk sounds of the
70s and which to this day is a scene alive and well that continuously generates new artists. IRMA records is recognized as one of the
labels that has published several of these artists since the 90s starting with Jestofunk, Bossa Nostra, Gazzara, Man Sueto and many
others.
With this compilation entitled ‘Mondo Groove’ it wanted to highlight the very varied Italian scene today that inevitably undergoes the influences of Dancefloor but also those of Afrobeat, Fusion and World Music.
On the cover one of the artists included in the selection: Alixia Mistral.

Some of these songs ­first time on LP. The Sound of Big Crown. Gold foil cover art. An amazing listen. Big Crown is proud to present the next volume of Crown Jewels, our various artists compilation series that highlights some of the most popular tunes next to some of the more obscure. Every artist on Big Crown stands on their own two feet with ease, but together, something else becomes apparent. If you discover one artist on the roster and it brings you to the label, it's very likely you will ­nd more that you enjoy. The Crown Jewels comps are just that, a chance to get a listen to the whole roster in one place. Even though not all BC artists can be found in the same aisle of the record store, after listening to Crown Jewels Vol. 2, it should be clear how they all ­t on the same record label. When we started Big Crown we wanted to have a label that’s only boundaries were de­ned by our taste, not by genre. We think that this is a perfect example of that. Thank you to everyone who has supported us thus far and please stay tuned as we have a lot more music on deck

Zongamin and Mytron reunite on Multi Culti with an album of collaborations. Exploring the depths of leftfield outer nationalism these two mainstays of our global family serve up a colorful array of mind-altering disco and interdimensional dub. Tribal motifs merge with field recordings while synthesized animals call out over exotic hand percussion. Jams on vintage synths meet 8-bit sampling bounced onto spring reverbs and digital delays from the 80s. Started mid-pandemic, this collaboration ignored the surrounding havoc and social distancing, instead focusing on Good Vibes TM and positivity with a genre-defying approach belying trans-continental origins. The result is a playful symbiosis that is Phatter than the sum of its elements. Mytron is Jacek Janiszewski, a pan-European multi-instrumentalist, producer and DJ, born in Poland, raised in Holland and Germany, and now living in London for the best part of a decade, his releases, for labels including XXX, Codek, Bordello A Parigi, Multi Culti, Nein and Les Yeux Orange, herald a similar nomadic spirit. Zongamin, Susumu Mukai is a composer, producer, and illustrator based in London. He has released records on Multi Culti, Flesh Records, XL recordings, Ed Banger, ESP Institute, and AD93, and has remixed for Air, John Cale, Trevor Jackson, Sandro Perri, and others. He is a member of groups Vanishing Twin, V/Z, Holy Tongue, and Stalactite.

Devilish edit duo Duane Harriott and Sean Marquand aka Devin Dare are back with some fresh flips for the new year! Kicking off with feel good classic NYC disco, DANCEMUZAK spins a familiar tune into something hypnotic and driving, while ITSDISCOTIME takes some mind-blowing holy grail source material and loops and builds to perfection. The flip side launches with the cheeky uptempo soul of LOOKINGGOOD that seems almost predestined for a Theo Parrish set, and finishes slow and low with the Clavinet driven funk of 1HEATER4SASHA. DD show once again why they are some of the best editors in the game!

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.

- Channel Tres releases his debut album Head Rush via RCA Records.

The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.

The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.

But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever

Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!

This is a repress of a highly collectable record that was originally released on A Guy Called Gerald’s Juicebox label in 1993. Over the years it increased in value, making it a holy grail within the hardcore rave/early jungle collector’s market.

But luckily Vinyl Fanatiks were already working with the producers on another repress – to be precise the SDR & Subsonic release of ‘Ideology/Abstrax’ which came out last year on the label. Both records were recorded by the same producers in the same year, under two different artist names.

Digital Pressure was an alias they created for Gerald, whilst the bulk of their output came out on their own label Shoebox.

A limited repress of 350 units on 180g heavyweight vinyl. Mastered by Dapz at Compound Audio and cut onto vinyl by the legend Beau Thomas at Ten Eight Seven, who is very knowledgeable about this sound as he was in the early 90’s groups The Genesis Project/Intense.

Watch Dis Space as this will sell out!

LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.



From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.

Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.

A devotional séance channelling unknown powers proving music is a healing force of the universe.

Rejoicing the Holy Jazz Spirit.

Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.

Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.

Be prepared and hear it to believe it.

For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.

Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Key to the process is Colin and Malka's radio show for Slack City radio, 'Swimming In Sound' with its entertainingly diverse playlist that has widened their horizons. It's also helped build relationships not only with these collaborators but also musicians like ambient country masters SUSS, with whom they plan an extended Nanocluster tour in the USA with in 2025 and Brighton via Falmouth's "jangly pop punk" Holiday Ghosts with whom they will perform the next Nanocluster event in their hometown, as well as many more in the pipeline. Malka: 'Nanocluster is collaboration but in a very specific form. We don't have rules. It's a series of creative snapshots. We start as the gig with our collaborators with tracks that we rehearse because this is not a jam and where it stops is an album.' Colin: 'It's chemistry & music. Malka & I operate as a team and now we've taken it to another level. Malka comes from a band where they would stand in a room together and work out the material. In Wire, I would present the songs, so when Malka and I first started working together, we had to find a third path, and that was the concept behind our collaboration.' Nanocluster Volume 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

Incredible new album from our new signing to BDQ records ZAN on the Boogie - Jazz Funk tip, due May. We’re so happy to be releasing this fabulous album.


Zan’s beautiful voice is an abiding part of the Australian music landscape. In the 80’s, she came to prominence out front of Melbourne’s iconic pop funk band
I’m Talking with Kate Ceberano, Zan’s lead vocals shine on one of the bands biggest hits ‘Holy Word’, which is still considered a trail-blazing Australian classic today. She loaned her vocal
talents to some of the most memorable Australian songs including The Models “Out Of Mind Out Of Sight” and “Barbados”. She appears in numerous videos singing backing vocals for a number
of Australian artists.

Zan appeared with I’m Talking in the classic music film Australian Made directed by Richard Lowenstein of Dogs in Space and Mystify fame. The film captured the incredible concert tour, which featured a plethora of major Australian performers such as INXS, Jimmy Barnes, The Divinyls & The Models. In her time with the I’m Taking band and as a solo performer she has made countless appearances on Australian TV including the legendary music programme Countdown.


In the 80’s she even performed for Princess Diana and Prince (now King) Charles at the
Rockin’ the Royals concert, at the Arts Centre in Melbourne, meeting the Royal couple after the show. Zan was bitten by the soul/R&B bug at an early age. Born in London of Sri Lankan heritage,
arriving to the shores of Australia as a young girl. Her love of music took her from Australia to New York and London, where she lived in the 90’s and early 2000’s regularly performing and recording with top international session musicians/artists. She’s also
had the extraordinary honour of performing live with both U2 &
B. B. King, Zan’s self-titled solo album was released through Amber Records in Germany in the mid 90’s and she also toured with UK Acid Jazz band
Mother Earth throughout Europe & Japan, eventually returning to the city she calls home, Melbourne.

Since being back in Melbourne, Zan has performed at various popular music venues such as The Night Cat, Memo and The Espy and in 2019, to the delight of 80’s music fans, Zan sang once again with the re-formed I’m Talking, playing a number of shows supporting Bryan Ferry on his acclaimed Australian tour. The re-formed band received several rave reviews for their shows. Zan’s new material is influenced by her considerable experiences, her rich musical history and the songs and artists she grew up on - soul and R’N B singers such as Chaka Khan, Renee Geyer and many others of that genre. Her new songs are steeped in 80’s dance/boogie funk/soul & pop flavours, re-capturing that feel-good factor from the era whilst bringing to it a new unique and contemporary edge.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand.

Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Archeology isn't just about excavation, there should be interpretation too, and in this case it comes from Italian duo Hear & Now and Leeds' The Veteran Delinquents. The former furnish the 12" with two radical takes, the dreamy downtempo stroll of their French Remix - all unhurried percussion, Gilmour-riffing and coastal élan - and the peaktime pump of their Arab Remix, which transports the original vocal into a land of desert new beat and Balearic trance with a little space left for some frazzled fretwork. If you've followed their work with Claremont you know the quality on show.

The Veteran Delinquents, the collaborative vehicle of Leeds stalwarts Craig Christon and Tim Hutton, condense a lifetime of club experiences into their remix, establishing the infectious groove of the original before subverting with chugging bass and winking acid, all augmented with their own slick synth work. The original was an all time classic at Craig's Joe's Bakery nights way back when, and this new interpretation is both respectful and revolutionary.

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria.

A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years.

A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.”

First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit.

On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”.

“These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

...Finally repressed! No more words needed... Classic!

The original version of this gorgeous schlager techno track, released in august 2001 on Kompakt's Total 3, would put a smile on a lot of people's faces. Apart from the reworked original version, you'll get two sensational remixes: The one from Frankfurt's high-aesthete, super hipster, club- and label-owner with a three-letter name: Ata. Since the very beginning, his Playhouse label has always been a guarantee for finest German House music. It's his first (!) remix ever and his first studio work since the legendary first Playhouse release 'Holy Garage' in 1993. The 'Playhouse Mix' turns the original version into a mega-hip, late-night monster and reminds a bit of the great Larry Levan and Metro Area's congenious adaption of early-80s disco music. The 'Robert Johnson' club is going down on its knees. Wonderful. The other remix comes from one of Kompakt's in-house pioneers of pop ambient: it's Olaf Dettinger. Who didn't want to miss this chance and has interrupted his creative pause only for doing this wonderful 'Moonlight Mix'. Dettinger's cosy hi-tech sounds and Sonja Luebke's seraphic voice, both singing a duet to the moon. Very, very beautiful, indeed.

DER SMARTE HIT VON JÜRGEN PAAPE MIT REMIXEN VON PLAYHOUSE'S ATA UND DETTINGER. HERRLICH !

It's been 40 years since Michal Turtle released his seminal, ground-breaking album "Music From The Living Room" into the world and promptly disappeared back into the aether.

An extremely obscure cult classic known only to deep diggers and aficionados of the finest order, it wasn't until Music From Memory reissued some of the tracks from it via retrospective compilations of Turtle's unreleased music almost 30 years later that his name become more widely known and a new generation were able to discover the artist's unique and pioneering style of experimental electronic music production, the majority of it very much ahead of its time, and to this day, still timeless.

Invisible Inc contacted Turtle in the summer of 2023 about releasing something else by him and it was during this exchange of emails that ideas were expressed about releasing not simply a straightforward reissue of "Music From The Living Room" to mark its 40th anniversary (the album has never been reissued in full) but rather a re-imagined/re-constructed take on the album bringing contemporary techniques, styles and newly recorded vocal and instrument parts into the mix and breathing new life into these wonderful compositions.

Collaborators old and new were brought into the studio and the songs re-created from the ground up. Familiar songs like "Are You Psychic?" and "Village Voice" get overhauled and echo remnants of their original counterparts but simultaneously sound like completely new tracks. The always mesmerising "Phantoms of Dreamland" is represented through a live recording at Café Oto featuring original album vocalist Lucianne Lasalle and regular collaborator HOVE on electronics. The remaining tracks, however, will be completely new to the ears of most people, never having been reissued or heard in these new forms ever before.

Regardless, whether in some way familiar or not, these hypnotic and repetitive pieces of beautiful sound art, all very different in style from one another, have an entirely new identity that even diehard devotees of the originals will fall in love with.

“Holy shit. This record is amazing. 'Are You Psychic?' is really something” dj_2button Dummy Hand / Weirdos Inc.

“What a record!” Cosmo Vitelli I'm A Cliché

“Amazing release. Probably your best release yet! Does everything an amazing record should and more...” Alexis Le-Tan Oddity Radio / Full Circle / Offen Music

Mr. K’s series of edits on Most Excellent Unlimited is nothing if not eclectic, and utilitarian — as befits a veteran DJ of Danny Krivit’s stature. For our latest, Krivit pulls two disparate gems out of his bag of tricks and fits them neatly on a single 7-inch piece of vinyl.

In 1972 Ralph Bakshi’s landmark underground animated film Fritz the Cat was released, featuring a soundtrack performed by an all-star cast of San Francisco area musicians associated with the Berkeley-based Fantasy label. Perhaps Fantasy’s biggest artist was the vibes player Cal Tjader, who debuted in 1955 and was still going strong when songs were gathered for the movie’s soundtrack nearly twenty years later. Rather than simply using one of his older, already-recorded tunes, Tjader laid down a completely new version of his earlier hit record “Mamblues.” This time however, he swapped his standard latin percussion accompaniment for a can’t-miss rhythm section of Bernard Purdie, Chuck Rainey, and Arthur Adams. The result was a searing funk workout that took the latin jazz classic to new heights. Mr. K subtly warms this one up by adding a hint of reverb and bringing the tempo down a notch, pushing things from frenetic to funky, and firmly into friendly mixing territory for the DJs.

For our flip side, we turn to an unsung jewel amongst Philadelphia’s many contributions to disco music. Executive Suite released a series of singles in ’74 and ’75 that were recorded at the famed Sigma Sound Studios and had ties to a number of better known disco luminaries, among them the holy trinity of Baker-Harris-Young and, on “You Believed In Me,” the mighty Patrick Adams. Along with his longtime associate Stan Lucas, Adams garnished the vocal quartet’s composition with a driving arrangement and epic, soaring strings. The combined effect produced a vibrant, uplifting club cut that echoes the positive spirit of Curtis Mayfield’s “Move On Up” while being altogether its own thing. For our latest release Mr. K focuses solely on Adams’s instrumental section, returning repeatedly to that addictive string riff and creating a propulsive rhythm track that just doesn’t quit. And we don’t want it to!

As always, these connoisseur’s choice cuts have been remastered and pressed to Most Excellent Unlimited’s standards, and are primed and ready on 7-inch for DJs and home listeners alike.

In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the second in a series of vinyl album samplers.

Sampler 2, a sublime gatefold, double 12 inch package sees Kerri soak up and channel the atmosphere of Dublin’s District 8, Glasgow holy grail Sub Club, NYC’s Output and Lisbon’s crowning jewel Lux into four trademark Kerri cuts, doubled up with a further mix of each track for good measure too. Piano-laden deep house, heads-down groovers, vocal-tinged soulful gems, recorded directly from each space, it’s brimming with future classics from start to finish.

Legendary Vibraphone Records re-issues another holy grail "The Bermuda Trinagle" from 1992.
For the first time with original track.

Re-mastered on 180 gramm vinyl!

Let me tell you what, for this number 17 we have the first 10inch record that will get to the stores from Sakskøbing’s headquarters. What’s the material on this 10” let’s unravel together: On the A side we have an original production by Dan who goes by the moniker The Jaffa Kid. This hard-working producer has released and self-released an incredible body of work, which is for you to find out, so rather than reading this, go and check it out yourself, surely you will be impressed. We are very happy to welcome him to the label family with this dark acid tool sprinkled with doves chirping straight from the good old 90’s.

The B side is taken for a spin by none other than UK’s holy grail Scott Featherstone who actively tours with his live set under Triform alias and has produced records under his other projects such as “Beyond A Void”, “Glorious Springtime” and “Lemmon Grass”. Strong recommendation to check it all out of course as its swarming with total & true heavy hitters. Here Scott has taken the original track to the different way and turned it into the freaky house number that bubbles the brains in the sweet manner that it does. To conclude the rambling, these handsome artists have brought the “Tacked on Acid” EP to life for all of us to Tack.

repressed !

Serious holy grail business on this rare 12-inch extended disco version of Lorraine Johnson - The More I Get, The More I Want on Prelude Records. Original copies of this promo-only cut will set you back £400+ and it doesn’t take a genius to work out why. Produced by Jesse Boyce and Moses Dillard and mixed by Rafael Charres the man behind the mixing desk for classics such as Rare Pleasure - Superfine Feeling and Keith Barrow - Turn Me Up, it’s a dream team cohort that created this Paradise Garage classic.

Backed with equally enthralling, Boyce and Dillard produced, Francois K mixed ‘Feed The Flame’, also loved by the Garage dance floor.

‘Hypnosis’ was one of Drumcode’s most vital under-the-radar releases of 2019. Its creator, Veerus, returns to the mothership for another top-shelf offering.

The Italian’s career is a brilliant slow burner, releasing EPs sparingly over the course of his 14-year career. There’s a narrative quality to each track too, the artist reveling in a drama-laden call-and-response dynamic. All three cuts from his latest ‘System’ EP are made for big moments.

The title track was created with Amsterdam’s holy rave cauldron the Gashouder in mind, and was completed by Veerus just a few days before ADE last year. Balancing on a knife’s edge between tension and euphoria, the track’s twisted synth lines sent an energy surge through the iconic venue.

‘Year’ is a deadly one-two combo of synapse-searing synths and sharp drums as jagged waves of sound throb with panoramic effect. It was a captivating highlight of Beyer’s set at Amnesia in Milan in February, the final session before the lockdown. ‘Pyramid’ was debuted at Beyer’s Cercle performance last September, sound tracking a blissful post-sunset moment at the Théâtre antique de Lugdunum in Lyon.

Rocko Garoni knows what a techno dance floor wants. He’s learned it through countless hours spent on the floor himself as a punter, and through DJing at some of the best clubs and festivals in his hometown Berlin and all over the world. He knows exactly the type of productions that thrill crowds, and he brings this wealth of knowledge and experience to his third EP for Second State, Ammoniak.

The title and first track ‘Ammoniak’ drags you straight into the zone; a pounding, take no prisoners cut laced with stormy synths creating a vague sense of paranoia. ‘Gece‘ cranks the energy up with trancey, bouncing synths and a cool, clipped female vocal. Instantly, you’re pulled into the very sort of club that Garoni knows so well. ‘No Border‘ is the kind of expansive track that seems destined for huge warehouses or vast festival dancefloors. There’s an insistent, brooding bassline, robotic repeated vocals and a mid-track shift in tone that will send the crowd to a heightened state of reverie. The blend of post-punk vocals and eerie beats on ‘It’s All Yours‘, a track featuring Cook Strummer on the vocals, is at once highly unusual and completely compelling. It’s the track to play when the crowd are losing themselves in the best possible way. Closing the EP is ‘Helio‘, another completely different track that showcases the extent of Garoni’s range. Faint, echoed chanting lends the track an almost holy atmosphere. Combined with tunnelling synths and spindly percussion FX, the effect is euphoric, acting as a delicious palate cleanser between heavier tracks.

Put simply, Ammoniak is another first-class EP from a dynamic act who’s fast becoming a Second State star.

Recorded spontaneously in Brooklyn and created entirely without written compositions, this album is an essential release for fans of ambient music, spiritual jazz, meditation, and deep listening. Features ISAIAH COLLIER on drums and tenor sax and produced by SONNY DAZE