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The past couple of years have provided an ideal breeding ground for periods of reflection. Of rediscovery. And for the reignition of dwindling flames. Perhaps this is why the meeting of Tom Churchill and 2Sox is the perfect match at the perfect time. A collision of minds stoking a fire that has sizzled away into a 12” slab of choice cuts. Introspective and deep, yet not forgetting what a dancefloor wants.

Tom started making music in the mid-90s, inspired by the house and techno records he was buying as a teenager growing up in Cardiff. Co-founder of cult 90’s label, Headspace Recordings and sister label Emoticon; Tom and partner Raeph Powell were responsible for some faultless releases in the 00’s. More recently, Tom has been one half of The Nuclear Family; a production, label and events project launched with Laurence Hughes in 2013. Much of what Tom has put his hand to over the years has been hot in demand. Incredibly, this is his first physical, solo release under his real name since 2002. Despite the 20 year gap, Tom’s enthuse for all things deep and electronic has arguably never been stronger.

“These tracks have been heavily inspired by two things - reconnecting with my surroundings and rediscovering my record collection - both of which have been made possible by the events over the past couple of years.” Tom says.

“As well as spending more time outdoors around my home on the west coast of Scotland, I recorded a lot of DJ mixes and radio shows during the first lockdown, which meant I spent a lot of time digging through older records. This reignited some creative energy that had been lying dormant for a while.

Before 2020 I’d been sporadically using a rented studio space to make music, but in that Spring I put together a basic, compact setup so I could work at home. My influences are pretty clear with these tracks - I’ve drawn on the palette of classic deep house, 90s techno and electro throughout - but while there are some retro elements and familiar sounds, I’ve tried to put my own twist on things. Being surrounded by nature and working exclusively on headphones has made for a more intimate sound, and these tracks are the most personal I’ve ever done.”

TEN PERCENT is the debut studio album recorded by Philadelphia-based disco group DOUBLE EXPOSURE. Originally released in 1976 on the Salsoul label, the album reached #40 on the US R&B chart (#129 on the Billboard 200). The album features the title track, which peaked at #2 on the Hot Dance chart, #54 on the Billboard Hot 100 and #63 on the Hot Soul Singles chart. Also featuring the singles “Everyman (Has to Carry His Own Weight)” (#8 US Dance), and “My Love Is Free” (#15 US Dance), as well as the group’s incredible rendition of the Four Tops “Baby I Need Your Loving.” Out of print for over 25 years, this limited-edition reissue contains updated cover sleeve artwork and is pressed on opaque light green vinyl!

NOAHFINNCE’s ‘STUFF FROM MY BRAIN / MY BRAIN AFTER THERAPY’ is a collection of songs written before and after therapy.

The debut double EP collection features guest vocals from Chris Freeman of Hot Mulligan and builds the world of NOAHFINNCE’s unique, hyperactive brain.

The project tackles issues like depression, anxiety, ADHD, past trauma and the path toward prioritizing mental health.

Deeply personal, but always expressed with a cheeky, quirky, not-so-serious sense of humour, NOAHFINNCE showcases the big personality that has amassed a huge YouTube following and led
him toward being a leading voice in Trans/LGBTQ+ youth issues.

With songs like ‘AFTER THERAPY’ and ‘LIFE'S A
BIT’, NOAHFINNCE is poised to break out as this
year’s new star of the new wave of pop punk.

For fans of YUNGBLUD, Waterparks, Set It Off.

LP pressed on cloudy blue vinyl.

Two and a half years after the inception of Shall Not Fade's bass-focused sub-label, and a year since its last edition, Time Is Now is proud to present Allstars Vol.3.

For most, the artists featured on the compilation need little introduction. This will almost certainly be true for the Leicester duo who kick off proceedings with a fresh garage cut. "Pick Me Up" is Y U QT's second contribution to the Time Is Now catalogue and sees them rep the Midlands sound with their take on UKG, complete with a 4x4 speed garage switch-up, sure to energise any dancefloor.

Next up, proving that all good things come in twos, is Manchester duo Cortese who first blessed the label with the warmth of their tuneful concoctions in June last year. This time around is no different: "Regatta" is a real summertime banger, with sunny piano stabs and arpeggiating synths that drift above.

Keeping things soulful is Dublin producer PROZAK who hots things up with the buoyant 4x4 garage track "Next To You" - his third release on TIN.

Yosh sees in the compilation's B-side with "To Me" - a track that captures the London badman's ability to keep you on your toes with stuttering breaks that catch you off-guard.

Next up, and repping Copenhagen for the third time on the label, is Main Phase with the aptly-named "Pull Up Tool"- a thumping 4x4 UKG track which gives a healthy dose of ruffage before Groovy D closes proceedings with speed garage banger "Wun4Me". Set closer business.

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

The multi-talented Johnny “Guitar” Watson was known for his guitar skills and was one of the hottest blues artists during the 1950s. His 1977 funk album A Real Mother For Ya produced the same titled international hit song and features “Nothing Left To Be Desired” and “Lover Jones”. Also included is the 2020 Ben Liebrand Oldskool mix as a bonus track, which was not available on the original album. During his career, Johnny “Guitar” Watson influenced Jimi Hendrix amongst others and earned a Grammy nomination for best contemporary blues album. Sadly Johnny “Guitar” Watson passed away while touring Japan in 1996.

2022 Repress

Apichatpong Weerasethakul is recognised as one of the most original voices in contemporary cinema today. His seven feature films, short films and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives.

This compilation album 'Metaphors' contains 14 soundworks carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century, Fever Room and more.

Apichatpong has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds giving his films a sense of continuity. In post-production, he's fascinated by the manipulation of these 'live' sounds in order to express 'reality'. This reality doesn't necessary represent the actual sound of the places, but more a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire.

Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognised as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016), the Netherlands. Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues.

REPRESS

A stunning survey of the 1970s heyday of this great Japanese singer and countercultural icon.

Deep-indigo, dead-of-night enka, folk and blues, inhaling Billie Holiday and Nina Simone down to the bone.

A traditional waltz abuts Nico-style incantation; defamiliarised versions of Oscar Brown Jr and Bessie Smith collide with big-band experiments alongside Shuji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz.
Existentialism and noir, mystery and allure, hurt and hauteur.
With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura.
Hotly recommended.

Vinyl-Fans aufgepasst: Hier kommt ein weiterer legendärer Album-Klassiker aus Oesterreich auf Vinyl!

Jackie Mittoo, organ and piano maestro, was not only a founding member of the legendary Jamaican Ska group The Skatalites, but through the course of Jamaican music’s long history has produced a body of work under his own name and of that with his various group incarnations, The Soul Brothers, Soul Vendors and the Sound Dimension. His distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio 1's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry(guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband, and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso,this band would back all the hits coming out of Studio 1 for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!. 1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In 1967 the hits at Studio 1 were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the label’s solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line-up that included Leroy Sibbles (bass),Roland Alphonso and Cedric Brooks (saxophone),Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio 1 they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio 1's output carried his sound. Jackie Mittoo emigrated in the late 60's to Canada but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio 1's supremacy and needed his magic touch. Such producers as Bunny Lee used Jackie Mittoo on many of his sessions,Sugar Minott among others were always glad of his services.

For this release we have put together a selection of some of his finest recordings done with legendary reggae producer Bunny Lee. 1970’s cuts that feature Jackie’s numerous talents, showing his ability to embellish tracks with a feel few could better. Musical arranger, band leader and all around studio ace.

We hope you enjoy this great set with Jackie Mittoo in fine style and his organ super powered indeed…

The ‘3000 Volts of Holt’ album was the third in a series of records that launched John Holt into the UK charts in the 1970’s. To say that every home had a copy of a 1000 Volts and many 2000 Volts of Holt might be an overstatement but it certainly felt that way, as all good radio stations and parties seemed to have these tracks on permanent rotation.’3000 Volts of Holt’ was the more roots sounding of the three albums but still carried that sweetened string sound that set these recordings together.

While Bauhaus have been waiting to continue their reunion shows, founding member David J has been trawling through his archive of tapes and diaries from the early 80s in coll;aboration with sound sculptor Tim Newman to present two volumes of unique spoken word and songs, including a vocal contribution from Black Francis of The Pixies and guitar overdubs by Warren Defever of His Name Is Alive and Adrian Utley of Portishead. Sleeve notes by Andrew Brroksbank of the Bauhaus Archive

Samosa Records continue their hot streak with ‘The Difference EP’ - a superb four tracker from a producer who is all about the funk, Gledd.

This wonderfully constructed EP kicks off with the first track on the A-side - ‘I Don’t Know’. From the get go, this is a slinky, catchy funky number. The warm, all consuming bass line jogs along, aided by subtle guitar riffs that light up the melody. The chugging train suddenly breaks for an outrageous blues vocal - deep growls and female backing singers take control before the track launches straight into the stratosphere. A guaranteed dance floor bomb.

Next up on the A-side is ‘Amapola Sunrise’, a latin infused 125bpm slice of heaven. Gledd knows these rhythms inside out - and this hypnotic ‘love dance’ of a track proves it. You can only imagine the sunrises and sunsets this will provide the soundtrack to. It’s a deep, glorious journey into hedonism - let the lead guitar and sax take you by the hand to the rug-pull breakdown. Gledd at his incomparible best.

Meanwhile, over on Side B, De Gama is setting out the party stall early with his ‘Re-Groove’ of Muni. When De Gama masters the grooves in the ‘Re’Groove’ workshop, the flames can be seen for miles. African horns, organ stabs and Mali-inspired guitar riffs combine with the superb vocals. It’s a tribal, ethereal and very spiritual funk dream, which is De Gama’s trademark.

Closing off this excellent EP is B.2 - ‘Japan Lips’. In no time, we’re off around the seedy back street bars where gifted but washed up bass players hang out to find work. The bass line is as clean as a whistle as it kicks against the snares and cymbals of the beat, and the melody wraps around you instantly with rhythm guitar, jazz flute and breaks. Another mesmerising piece from a man who knows how to mesmerise. The perfect topper to this thoroughbred release.

‘The Difference EP’ is a welcome Samosa debut for Gledd and is sure to be a hit with lovers of the groove. This has to be in your collection.

Five-time Grammy Award winning blues singer Robert Cray recorded his fifth studio album Strong Persuader together with Grammy Award winning producer Bruce Bromberg. After its release in 1986, the album became his big breakthrough and made Cray a pop star, despite making a classic blues album. The 10-track album included three singles, including “Right Next Door (Because Of Me)”, “I Guess I Showed Her” and “Smoking Gun”, the latter reaching #2 on the US Rock chart and #22 on the Billboard Hot 100. Strong Persuader sold over two million copies by 1995 and earned him a Grammy Award for Best Contemporary Blues Recording.

Eastside Edits is back with its follow up to last year’s massive 001 release. After gaining support from all the top open format DJs and Donut slingers across the globe, we present you the label’s second record - 002. Bringing you a unique niche sound that is upbeat,
dance floor friendly and will get the crowd moving. This record features two stellar veteran artists with impressive discographies, both making significant impact in their respective scenes.

Side A is brought to you by Toronto’s very own Jackin House legend. With his signature hardhitting drums and funky soulful sound, Demuir has taken the music world by storm. Touring globally at some of the most sought-after nightclubs and festivals, as well as releasing music on the hottest labels in dance music. He has been featured as Beatport’s Hype Artist and has been awarded the #1 Jackin House Artist of the year multiple times. He takes one of the top Hip Hop
songs of 2020 and injects his personal signature. This raw, edgy edit is an absolute weapon, not to be missed!

Side B is brought to you by a Canadian native, residing in the USA. When it comes to the 45 community DJ Double A needs no introduction. He continues to drop release after release on the top 45 labels in the game. He’s the man behind Mountain 45s, with releases on Friday’s Funky 45s, Private Stock Records and Heat Rock. Double A premieres on this label with an edit that puts a modern spin on an 80s classic. This rework is guaranteed to have the crowd singing
along and humming the vocal well after the show is done. It’s truly a DJs must have

Nathan Hose, known more commonly as N8NOFACE, has built a heavy history behind his name. Known for his previous work with Crime Killz and a string of solo mixtapes, EP’s and collab projects, he comes out swinging to close out 2021 with “Homicide”.
For Fans of: Screamers, Le Shok, Suicide, Xiu Xiu, Atari Teenage Riot
Both a full-length album of all new material and his debut Blackhouse release, N8 shows up with a catalog of raging synth-punk jams, knocked out with only a synthesizer, a computer, and the true-life humility and humanity only he can deliver. The dose of reality that lives within N8NOFACE’s lyrics resonate with a population of people who have stayed true to themselves all the while feeling disenfranchised. People needing an outlet and something raw and new over a year and a half long pandemic (and counting) is the allure behind N8NOFACE, and this record is sure to deliver that and more.
Southern California. A Jekyll-and-Hyde atmosphere of glitz and glamour, with a seedy dark side that lays as an unspoken wasteland in the streets. There’s a thriving underground that has always existed among the Southwest United States. It’s a melting pot of the punk, metal, and hip-hop scenes, skateboarding, art, underground fashion, and custom car cultures. It’s also a hotbed for some real-life shit, to say the least. Crime, drugs, homelessness, porn, and shady activity is part of the life; proof that the city is not only wide awake at night, but it burns white hot. With all the musings one would need to inspire nothing less than a prolific output, when it comes to Long Beach-by- way-of-Tucson synth-punk dynamo N8NOFACE, calling him prolific is an understatement.

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off pressing exclusively for Record Store Day Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.


Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out "Compilation of the year. A compilation of unbelievable quality. Awesome” DJ "A who's who of Jamaican music” The Times "An essential slice of musical history" Wire "The most credible compilation of reggae you can buy” - The Guardian.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Sam Gendel and Antonia Cytrynowicz didn't set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel's Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end. At the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel's significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz's musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe. Because of that, LIVE A LITTLE is a stand-out amidst Gendel's extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills & legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone & Bass Guitar with Sam Wilkes. Then Mouthfeel / Serene, AE-30, Valley Fever Original Score, and singles "Isfahan" and "Neon Blue." LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel's work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz's voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun. Cytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz' "supreme openness," explaining: "Whatever is happening, she's there with you. We really meet right where we are. She's all ears, I'm all ears. I don't even know how to explain what it is. It just works out somehow." LIVE A LITTLE is a series of "what ifs" cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It's a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn't have time for second thoughts or self-doubt. The moment is the thing, and LIVE A LITTLE just happens to capture it.