quête:household

His debut was recorded in the winter of 2003 with assistance from Texas
chamber pop collective The Earlies, followed by three albums of original material
and one all-covers album. In 2011, a near-fatal car crash paralyzed his arms for
months. He spent his recovery time listening to some demos he'd made before
the crash. The material eventually culminated in the darkest and most intensely
personal collection of songs from him thus far and garnered widespread critical
acclaim. (Micah P. Hinson & The Nothing). Since then, each record is a final
confrontation with himself, each song shakes with danger. I Lie To You, the new
Micah P. Hinson album, comes from five days and five nights of recording in
Irpinia, South Italy, with production by Alessandro Asso Stefana (PJ Harvey, Mike
Patton, Vinicio Capossela). Accompanying Micah and Asso are Raffaele Tiseo's
celestial strings, Zeno De Rossi metaphysic drumming and the double bass
gentleman Greg Cohen. On this new album he sings, with his weathered, husky,
prophet-like voice, eleven tales of love, loss and regret, which once again reveal
his heart as an artist laid bare.

Momma, the band led by singers/guitarists Allegra Weingarten and Etta Friedman, will release their anticipated new album, Household Name, on July 1st, 2022.

Fresh off a series of dates with Wet Leg, the band’s new full-length Household Name reveals an exciting new chapter marked by both personal and artistic growth. Now based in Brooklyn, New York, after relocating from hometown Los Angeles, the duo upgraded from GarageBand and took their time writing and recording in a proper studio alongside multi-instrumentalist/producer Aron Kobayashi Ritch.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver's singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

12 Inch Lovers nothing but classix, straight from vinyl! Part 1 of two double vinyl-pack incl. Sasha & Maria, Fatima Yamaha, Brahama, The Mackenzie feat. Jessy, Hatrixx, and Salif Keita & The Base Boys.


After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

"Gregor Salto" is at it again! Sampler 6 opens with that other and hard to find classic of his "Your Friend". A club classic that has won the hearts of countless clubbers and house fanatics around the world since 2009. And speaking of hearts; Belgian dj-producer "DJ Wout" released this beautiful and emotional remix of "D. Van Horn's" "Somebody Now To Love". A true trance classic and typical in sound for that period that you can find on A2.

On B1 we find a more recent track but which you can already say is a future classic. "MZ" from "Sascha Funke" is still played to this day by top DJs like Solomun and very hard to find on vinyl. A must have! Dutch producer "Karmon" delivered this catchy deephouse remix of "Fabo's" "Where I Stand" in 2012. You can find it on B2.

On C1 we find the beautiful "Andain" classic in the "Gabriel & Dresden Unplugged Mix". "Beautiful Things" was picked up by "Tiësto" at the time and has made it a true classic. Hard to find on vinyl.

"Moko" "Fly" on C2 is a very catchy and quirky track from 2010 that never had a vinyl release! Highly recommended!

D1 brings the dreamy and highly sought after "Today" from "POB & Taylor" in the "Seismic" remix after which we close with D2 with a true classic.

"My Moon My Man" by "Feist" is probably that record which remix is better than the original. "Boys Noize" was responsible for this in 2007 and the rest is as they say history.

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

Sampler 5 begins with the breakthrough record from Norwegian producer "Finnebassen". "If You Only Knew" was a big hit for him in 2012, the record was best known for that hypnotic Aaliyah sample used throughout the entire track. A2 brings the very rare remix of this uber classic "The Sound Of Violence" by "Cassius". The "Franco Cinelli" remix is a very successful approach to this classic.

On B1 we find a real anthem. "World Cup" by "Kiko" is a delightful classic from 1999 but to this day it is impossible to imagine today's DJ sets without it. B2 then brings the delicious "Still In The Groove" from "Reckless", of course in that famous "Def Offenders" remix.

"Phil Fuldner" is still very active as a DJ and producer today. You can find his dreamy "Lights Off" from 2010 on C1. And speaking of dreams. "Winter" by "Aril Brikha" is another incredible classic that should definitely not be missed in your collection.

On D1 we find the Australian and headstrong singer "Sia" with her classic "The Girl You Lost On Cocaine", but in that fantastic and hard to find "Stonebridge Vocal" mix.

Last on Sampler 5 we dive back into the nineties with the memorable club classic "Closer" by "Liquid" on D2.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele presents his keenly anticipated sophomore album, 'THE CRASH!' – a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock, jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.
At its core, 'THE CRASH!' is a soulful meditation on the weight we place on relationships, the fundamental cost of growth, and the search for direction in an imperfect world. It's a deeply personal project, shaped by Steven's own journey through faith, disillusionment and self-discovery. Raised in a strictly Christian household, Steven's first crisis of belief came at 17, when he began questioning the very foundations of existence. As his faith unravelled, music became his new guiding force – a source of direction, discipline and identity. But as he turned 30, disillusionment crept in once again. The stark realities of the music industry, coupled with global uncertainty, reignited that same despondent weight he had battled in his youth.
"It was an intoxicating feeling when I was younger and had no responsibilities, to foolishly believe I was the first person in history who'd worked something out that no one else had. It gave me this twisted sense of power and was a big creative motivator. Where I'm at now, nihilism is debilitating, boring and unhelpful. I've worked to find a way to channel those feelings into this project. I'm really proud of it."– Steven Bamidele

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

EXOTIC GARDENS is the dub focused solo project of Aaron Coyes. As a member of PEAKING LIGHTS, LEISURE CONNECTION, and a mainstay on both NTS and DUBLAB radio (among many other credits), Aaron should be nothing less than a household name. But here, in EXOTIC GARDENS, Coyes' only collaborator is a make-shift dub home studio that would make any tech head weep with ecstatic joy. For the last 6 months, little snippets and whispers of the project have been emerging on various social outlets, but here we find the culmination of those efforts: EIGHT DEEPLY HEAVY, DEEPLY DUBBY, DEEPLY PSYCHEDELIC, DUB TRACKS FOR THE ENTIRE FAMILY.

David Versace is an Australian multi-genre keyboardist, composer and producer based in Meanjin, Queensland. Growing up in a very musical household it was always important to express and embrace all types of music and sonics. His sound ranges from Jazz and Samba to ambient works and the odd dance-floor heater. David also plays in Meanjin nu-jazz dance outfit First Beige.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

2025 Re-press of this classic EP by Marcello Giordani! This one was originally released on vinyl back in 2006 on our now defunct sub-label “Players Paradise” and was one of the first ever releases by Marcello Giordani who went on to become a household name in the scene and a man of many successes. Currently he is making waves with his “Italo Deviance Music” label and productions under his alias “I/D”.

Get in these three fine cuts again in a superb re-mastered quality. From the Italo inspired “Narcos” to the deeper and darker B-side Disco gems “Change Position” and “Prova 2”. We are sure these tracks will rock your dance floors again this spring and summer. Enjoy!

All tracks re-mastered by Salz Mastering in Cologne.

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.

In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!

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180GWALP07 - Manufactured and distributed by 180g.

The year is 1974 and we are in Kingston, Jamaica: Lee Scratch Perry has just presented Susan Cadogan's album 'Sexy Suzy' on his Upsetters label. The Jamaican singer, who is just under 25, sees her cover of 'Hurt So Good' flirt with the top of the UK and JA charts but has no idea that 50 years later, she would still be a household name among Jamaican music fanatics.

On the B-side of this LP, produced by Mr Perry himself, the penultimate track is a cover of Little Willie John’s "Fever". Over the years this song has taken an unshakable place in the hearts of reggae lovers worldwide. With nearly 700 different versions referenced to date, Fever already enjoyed classic status at the time, mainly thanks to the success of Peggy Lee’s version released in 1958. Since then, in all styles, across all continents, the song has been reinterpreted, so much so that it's rare to find a year since 1956 without a new version hitting the market! Universal, timeless, this love song is known to all music enthusiasts, but in the reggae scene, it’s Susan Cadogan and Lee Scratch Perry’s version that still reigns supreme.

50 years after its release, Stand High Patrol offer us their own version. Recorded at the end of 2023, the Susan Cadogan / Stand High Patrol collaboration wasn’t initially meant to move beyond its dubplate status. However, due to the track’s success in the dance and a growing demand, it became the first pressed collaboration on record between a Jamaican artist and the Dubadub Musketeerz. Accompanied by its dub version, Stand High’s take on Fever is a creative reimagining and brings to mind that classic 90s UK dub style. Its sits firmly on its foundations, a stepper roots-flavored drum beat. Some might find the interpretation ‘more jazzy’ than Lee Perry’s, but everyone will have their own take. One thing’s for sure—its impact on the dancefloors is undeniable!

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

Collected by Charles Aznavour is a wonderful collection of hits and classics by the French chansonnier, that touches your soul at every moment. It’s an overview of his work during the sixties, seventies and duets with Johnny Hallyday on “Il Faut Savoir” and with Frank Sinatra “Young At Heart”. Also his English versions of “How Sad Venice Can Be”, “The Old Fashioned Way”, “She” and four more English songs are included on this deluxe Trifold 3LP album.

In the early 1950s a man of short stature attempts to win over his audience. With a hoarse voice he delivers songs that do not catch on. People jeer at him. Tomatoes fly through the air. The Frenchman with Armenian roots slinks off the stage, but does not quit. Ironically, the song that makes him a household name is the song in which he recalls his agonising trial. The audience reacted indifferently when Charles Aznavour decided to try out his new song on stage. But when he went on to greet the audience for one final time they all stood and gave him a thundering standing ovation.

In the sixties, hits and classics succeed one another. Nobody is bothered any more by his husky voice, by his small stature or his rugged characterful face. The croony “For Me Formidable” (1963), the heart breaking “Et Pourtant” (1963) and the nostalgic “Hier Encore” (1964) confirm his standing as a fan favourite. “La Bohème” (1965) and “Emmenez-moi” (1967) turn Aznavour into a superstar. In “La Bohème”, there are impressionist painters strolling in the shadows of the Sacré-Coeur, the compelling “Comme Ils Dissent” (1972) is the first chanson after Vichy France to overtly endorse homo sexuality and in the present “France Of La Manif Pour Tous” (the movement that opposes gay marriage), does it again to sound particularly topical. “Camarade” (1977) was about the nomenklatura, the ruling elite in the Soviet Union and is a social and historical topic. “Avec Un Brin De Nostalgie” is an Aznavour grand cru, maybe even the best he has made over the last thirty years.

Charles Aznavour Collected is available as a limited pressing of 1000 individually numbered copies on gold vinyl. The package includes a 4-page booklet with liner notes and photos.

New on Outta Sight, an official reissue of the Gloria Jones classic “Tainted Love”. The song originates from 1964, then made a household favourite from 1981 when made a hit by Soft Cell. Gloria’s 1965 release in the USA was originally a B-side to a non-hit, and it took ten years for it to be discovered in the UK where it was played on the Northern Soul scene. It’s the Motown-like rhythms and arrangements that made it relevant. Gloria re-recorded it herself in 1976, and while still not a hit, the song in NME’s Top 500 greatest of all time and Gloria dubbted ‘The Queen Of Northern Soul’. She was in a relationship with Marc Bolan at the time of his fatal accident. This single is coupled with another northern soul favourite, the Holland/Dozier/Holland song “There’s A Ghost In My House” by Motown artist R. Dean Taylor. It was originally recorded in 1966 and reached No.3 in the UK Charts (1974)

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

“I’ve always loved mistakes; it’s the hidden beauty in all art” - Andrew Weatherall


Transparent Sound are the original dons of UK electro, not exactly household names yet an act with so many under-repped classics that once you dive into their catalogue you might end up emptying your bank account on Discogs.


To save you going down this calamitous path as well as to finally, raise TS to the level of notoriety they deserve, Tresor Records is very proud to announce the release of Accidents 1994-2023. Formed by Orson Bramley and Martin Brown in Bognor Regis in 1994, Transparent Sound have managed to create 30 years’ worth of some of the best electro from the British Isles, despite claiming to not know what they were doing nor how their instruments work.


It’s likely that it’s this lack of knowledge that led to the quality and longevity of their output - the pair experiment and tinker with the machines until something pleasing appears then follow that sound
down whatever path seems fruitful: “the confidence of ignorance” as a slightly more-famous Orson, Orson Welles, once put it.

This tactic has paid o well and found them stumbling into many notable adventures, from remixing The Cure to performing during an intermission between two halves of a lecture - none of which they understood as it was in Spanish.


The compilation collects a lucky-for-you 13 of their most glorious electrical accidents on a three-disc set including the dancefloor hits Punk Mother Fucker (a mainstay of Villalobos sets at the time of release), and No Call From New York (as heard on Helena Hau’s perfect 2017 Essential Mix). The package also comes with ‘Windows To Your Sole’ from the unreleased white label Transparent Sound 007, other unreleased tracks, and special 2023 edits as well as six digital bonus tracks.

Repress!

Purple Disco Machine unleashes ‘playbox’ the thrilling next chapter of his disco-house odyssey.


The Dresden based disco megastar leads a rallying call to his disco army of super fans across the globe, with the release of his new single ‘Playbox’, a vibrant, high energy, disco-house treat that marks yet another exciting chapter of his sophomore album release.

With three extraordinary singles having made their way into the ether, Purple Disco Machine has kept his fans grooving throughout this past year - providing a huge ray of sunshine as we need it most. Already a globally renowned producer, Purple Disco Machine has quickly become a household name with the success of his international hit singles ‘Hypnotized feat. Sophie and the Giants’ (an anthem the world over having been streamed over 250 million times) and more recently ‘Fireworks feat. Moss Kena & The Knocks’ (with over 35 million streams to date).

‘Playbox’ is accompanied by an extraordinary video illustrated and animated by Juppi Juppsen, and Mathias Lemaitre Sgard, who created a vibrant homage to classic science-fiction, cyberpunk, retro-futurism spiced up with disco influences for ‘Playbox’. In the clip, Tino, in the form of a space superhero, and his female droid search for an ancient artefact which is said to hold the essence of music and, therefore, possess unimaginable power.

With just shy of 900 million streams across his catalogue to date, and over 9 million monthly listeners on Spotify, Purple Disco Machine continues to live up to the hype of #2 Beatport Artist of All Time. With a succession of notable remixes for Dua Lipa, Mark Ronson, Foals, Calvin Harris, Fatboy Slim, Sir Elton John, Royal Blood, Lady Gaga & Ariana Grande, Duke Dumont, and Diplo & SIDEPIECE, coupled with his own dominating originals ‘Body Funk’, ‘Dished (Male Stripper)’, and ‘Devil In Me feat Duane Harden & Joe Killington’ from his debut album Soulmatic, Purple Disco Machine continues to innovate and elevate at every turn.

Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.

Spirit Of House’ is a jackin' 90’s Chicago inspired groove. It’s an uplifting, dance floor ready track from two of House music's finest. Those unmissable vocals from the legendary Gene Farris add a stamp of old authenticity – he’s a bonafide Chicago legend, who’s contributions to the House music scene are undebatable. He’s been pushing musical boundaries for close to three decades, working with world-leading labels and artists such as Relief, Dirtybird, ViVa Music and Defected.

ATFC is a longstanding label favourite and household name in the scene. He has 3 UK top 40 hits under his belt and has remixed tracks for the likes of P Diddy, Missy Elliot, Simply Red, Faithless and Dido. He’s entered Pete Tong’s Essential Mix hall of fame - and the BBC Radio 1 tastemaker himself described ATFC’s productions as ‘verging on genius’. This collaboration is a match made in heaven.

‘Spirit Of House’ is a deeply playable, feel-good House record from two of the most established producers in the scene.

‘R U’ features a catchy piano hook, tough drums and that deep, powerful vocal from Gene Farris himself. It’s a stripped back, gritty house cut and we're proud to be giving it a home on Toolroom.

Whilst sampling can be a sticky subject in dance music, 'Tech House Kinda Thing' is a fine example of how digging deep and being creative can be hugely rewarding. The vocal sample on this record is from another house titan; Harry Romero. This was taken from an event promo video that Harry recorded himself and posted on his Instagram page. Being the creative soul he is, ATFC heard it, sampled it, brought the idea to a Toolroom writing camp last November, and voila, this record was born! The record itself is an energetic club workout, produced with the detail and finesse you'd expect from such a legendary producer such as ATFC. With driving rhythms, off beat quirky stabs and that unique, spoken vocal, this really is a special record!

‘Not Enough’ is an uplifting, funky, feel-good tune. It oozes that ATFC warmth and the vocals from Mia Mendez add some serious sunshine vibes! Her voice is super powerful and within seconds of hitting play on this record you're whisked away to a sun drenched terrace!

2020 sees Jazz & Milk celebrating its 15th anniversary! Since 2005 the label, founded by Dusty, offers an experimental playground for international artists that share a passion for organic and soulful dance music. Many legendary club nights and over 30 releases later, Jazz & Milk has become a household name amongst the eclectic music imprints. The focus has always been to transcend genres, including a broad spectrum of styles ranging from jazz, soul, brazil, afrobeat to house, broken beat and electronic music.

For this very special occasion, the label presents six exclusive tracks by the likes of Steve Spacek, Àbáse, Sam Irl, Feater, Bongani GiveThanks and Moe Fabrik - the club focused collaborative moniker of Wayne Snow, Ziggy Zeitgeist and StyleBoi 92.

With this compilation project, Jazz & Milk is not only celebrating an illustrious 15 years of operation. The label also wants to take the opportunity to highlight the importance of 'community', at a time when racism, greed, injustice and a deadly pandemic are jeopardizing our ability to harmoniously exist with one another.

Peace, Love & (Comm)Unity!

tested 'Then After' EP by New York duo Wild Dark.
'...Stemming from a partnership with two decades of experience behind them, Wild Dark takes on contemporary song-writing and gives it a unique, thoughtful, modern-take using a wide spectrum of electronic music to tell a story. The duo, comprised of brothers Corey & Ryan Negrin, stray from cold digital samples in favour of a warmer approach to writing music. This allows them to merge house, techno and natural vocal work into a cohesive concept that uses soulful yet charming songwriting to nurture a sophisticated palate of contemporary work...'
Then After EP includes two tracks featuring Alex Who 'When we first met Alex there was chemistry off the bat. With inspiration of being young and free, the lyrics and vibe to "Why Not"came together with ease. As the production progressed, the darker tribal elements came to life.
We wanted this track to resonate with the free spirited. This track tends to be a favorite of night.
"Born By The River", A Happy Mistake. The vocals, the elements, the soul, all stemmed from animpromptu recording and this beauty was born. With a list of organic household recordings,accompanied by a warm low end, we aimed to create a track that defied all genres.
"Talky Talkie" is the most club oriented track of the EP, with a persistent groove and synth elements that work perfectly on the dancefloor.
"I'll Wait" brings our bohemian flavour to shine, a track that's comfortable being played anywherefrom Burning Man, lost in the desert to the deep warehouses of Brooklyn's underground.
The digital release will include a special remix by Superlounge, a German duo known for their smooth house vibes. This is a must have release, available first on the label's shop online;

t r u e C o l o r s
A Brooklyn / London based record label that channels artist's most honest version of their
creations and shares it with the world through vinyl and digital platforms.

2x12" Vinyl + full cover artwork

One of the world's most in demand DJs and producers, Noir has been responsible for some of the most poignant - as well as explosive moments in clubland's recent history. Arguably best known for his huge dancefloor bomb 'Around', Noir now drops his debut studio album, a project that has been nearly half a decade in the making.'Around', a sexy, synthesizer-tinted groove featuring vocalist Hayze dominated dancefloors across the world for close to two years, making Noir a household name across clubland. And it's still as popular as ever - the Solomon Vox remix of 'Around' has amassed more than 12 million views on YouTube.

As well as 'Around', Noir includes further club hits 'Around feat. Hayze', 'My Fault feat. HRRSN' and current single 'Black feat. Caitlin', evidencing Noir's desire to work with a variety of vocalists to create something far 7 weightier than simply a collection of club tracks. Noir is about telling stories, boating 12 completely unique productions that chart the artist's evolution over the course of his expansive career. With many of its cuts moving away from the strict four-to-the-floor parameters of house music production, the horizons of Noir stretch way beyond the dancefloor. Taking cues from a range of artists from Depeche Mode to Kraftwerk, and Massive Attack to Timbaland - all of whom have heavily influenced Noir's aesthetic - Noir is an emotionally charged and

utterly engrossing body of work. Says Noir of working on the album: 'The album has been in the making since I started working on 'Around' back in 2010, so for me it's a body of work that spans nearly 5 years, with changes to productions, melodies and moods before I was happy with the final tracks. 'What you hear on the album is the culmination of all the music and influences I grew up and have lived with over the years: it is absolutely my identity and honestly represents my musical passions. Unlike many 'dance' albums that are little more than a collection of thrown-together club tracks, Noir combines tirelessly creative songwriting with multi-faceted production that reveals fresh delights with every listen: a timeless release from a truly singular artist.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.

BLK ODYSSY is an Austin-based artist and producer whose boundary-pushing sound blends soul, hip-hop, rock, funk, and pop. Born in Plainfield, New Jersey, and raised in a household steeped in neo-soul, BLK began channeling his voice through music after the unjust killing of his older brother by police at age 12. That life-altering loss and the experience of growing up Black and male in 21st-century America fuels his raw, layered storytelling. His debut album, BLK VINTAGE (2021), written and produced with close collaborators, served as both a celebration and a critique of Black identity in America. It was met with critical acclaim and re-released in 2022 via Empire as BLK VINTAGE: The Reprise, featuring Mereba, Benny the Butcher, George Clinton, and Baby Rose. The project has since amassed over 100 million streams and positioned BLK ODYSSY as a standout voice in modern soul. His 2023 sophomore album, DIAMONDS & FREAKS, continued his ascent, merging surrealism and social commentary with contributions from Rapsody, KIRBY, Bootsy Collins, Cory Henry, and production from The Alchemist. NPR called BLK “a surrealist R&B auteur,” while Pitchfork praised his ability to bend genre into a cinematic sonic experience. In 2024, following a surreal Tiny Desk performance and festival appearances across Europe—including a headline set at North Sea Jazz Festival and Lollapalooza in Chicago—BLK ODYSSY launched a bold new chapter, with his third studio album, 1-800 FANTASY. The first single from the album, “WANT YOU” (co-produced by Tyler Johnson, known for his work with Harry Styles), marked a shift in tone. That was followed by “XXX” featuring Wiz Khalifa, and “STANK ROSE” featuring Joey Bada$$. Now averaging over 1M+ weekly streams, BLK ODYSSY is unleashing his fourth project, MOOD CONTROL, a ten-track album pushing alt-R&B, soul, and funk to new heights. 1xLP, pressed on Green, Brown & White 3 Color A Side B Side Vinyl.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

- 2026 repress -

Planet Rhythm proudly kicks off its brand new ORIGINALS series with a heavyweight reissue of classic DJ Misjah cuts - essential gems that shaped the hard-edged techno sound of the mid-90s. Remastered with care and pressed on high-quality vinyl, these tracks capture the raw energy and relentless groove that made DJ Misjah a household name in underground techno circles. An unmissable chance for collectors and fans of authentic underground techno to own a piece of techno history, fully restored and ready to devastate dancefloors once again.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Totally Enormous Extinct Dinosaurs is the musical project of British producer, singer, and songwriter Orlando Higginbottom. Known for his emotionally rich electronic compositions and playful visual aesthetic, he emerged in the late 2000s with a sound that merges dancefoor energy with melodic songwriting. His work spans house, techno, synth-pop, and experimental electronic music, and he has earned recognition for both his solo releases and his collaborations with artists across the electronic and pop landscape.

Trouble balances introspective songwriting with dance-foor energy, positioning itself as more than just a collection of club-ready singles. Key tracks include "Garden" which features Luisa Gerstein on vocals and "Tapes And Money" which incorporates Funkadelic's "One Nation Under A Groove" The album was well received, with favourable reviews from several well- respected music publications including the NME who decribed TEED as "one of the UK's most exciting young producers." It was also DJ Magazine's 'album of the year'

Grammy award-winning titan of dance music Purple Disco Machine joins the illustrious list of Defected House Masters with a celebratory compilation. The German producer, DJ and global household name Tino Pointek, AKA Purple Disco Machine, is the blueprint for what makes a successful dance music artist in the modern age; respected on the underground scene while achieving major crossover success with remixes for the likes of Sir Elton John, Dua Lipa and Mark Ronson. The crate digging kingpin of house and disco first landed on Defected over a decade ago, and has since delivered remixes of iconic tracks like Fatboy Slim’s ‘Praise You’ and the London label’s top tracks including Shakedown’s ‘At Night’ and ‘Coma Cat’ by Tensnake – as well as striking originals like ‘Beat Fantasy’. From edits of the classics to remixes of the modern, as well as uplifting originals, Purple Disco Machine has birthed a distinct sound that is instantly recognisable, one that is not afraid to reference or not reference and is always bursting with joy. Across Defected presents House Masters: Purple Disco Machine, the full breadth of the iconic German selector’s sound is felt from the 2019 smash hit ‘Dished (Male Stripper)’ to deep cuts like his re-work of Fallout’s ‘The Morning After’ as well as remixes of legendary tracks like ‘Lola’s Theme’ by The Shapeshifters and Spiller’s ‘Groovejet’ featuring Sophie Ellis-Bextor. Defected presents House Masters: Purple Disco Machine is here to showcase the sound of a bona fide electronic maverick in full.

●STAY BY MY SIDE (Youth Of Roots)
This is the title track from Young Israelites' 2021 debut EP, which made them a household name.
Its catchy, pop melody has captured the hearts of reggae fans worldwide, and Youth Of Roots' KON RYU has covered it in Japanese.
It blends seamlessly with the song like a long-time favorite, bringing out the original's charm with a new brilliance.

●STRAWBERRY GIRL (Young Israelites)
A popular song that shines with sweetness in Youth Of Roots' repertoire, which is filled with roots-conscious, message-driven songs.
Young Israelites' English cover, with its melancholic vocals, further enhances the quality of the original.


YOUTH OF ROOTS
A roots rock reggae band formed in Kanagawa in 2016. Their multi-generational sound and spiritual musicality, rooted in their experiences in Jamaica,
define their sound. They've released numerous singles, including their latest album, "LOVE IS THE ANSWER."
They connect with their audiences at live shows, conveying the spirit of "One Family." Their overwhelming sense of unity and sincere message transcends
borders, earning them praise from international fans as "the best reggae band."

[YOUNG ISRAELITES]
A rocksteady/roots reggae band consisting of three members from Israel. Building on a vintage Jamaican sound, their familiar melodies and soulful,
passionate performances have garnered attention from reggae fans worldwide. Since their debut, they've released a string of EPs and full-length albums,
and have expanded their global reach, including airing on the BBC and performing at the world's largest reggae festival, ROTOTOM SUSPLASH.
This new-generation band vividly revives the spirit of rocksteady and roots reggae for the modern era.

Super Mazembe's "Greatest Hits," serves as a definitive collection celebrating the band's remarkable contributions to East African music. Released in 1986, this compilation features a carefully curated selection of the band's most iconic tracks, encapsulating their vibrant sound and the infectious energy that made them a household name. Highlights include fan favorites like "Shauri Yako" and "Kasongo" each track showcasing the band's skillful musicianship and unique ability to blend traditional rhythms with contemporary styles. "Greatest Hits" not only pays homage to their illustrious career but also introduces new audiences to the timeless music of Super Mazembe, solidifying their legacy as significant figures in the African music scene. This LP remains a cherished collection for both long-time fans and newcomers alike, capturing the essence of a band that defined an era and continues to inspire musicians and music lovers across generations.

Few producers have had the same seismic impact on techno and rave music as Joey Beltram. Hailing from Queens, New York, Beltram was a key architect of the early '90s rave explosion and responsible for some of the most influential electronic records of the era - and it was Belgium’s R&S Records that gave many of these tracks their first home.

Originally compiled and released by R&S in 1996, Classics brings together the core of Beltram’s groundbreaking early output - namely the Beltram Vol. 1 (1990) and Beltram Vol. 2 (1991) EPs, alongside the legendary Second Phase productions ‘Mentasm’ and ‘Mind To Mind’ (1991), plus a selection of aliases and collaborative work from the same period, including tracks under Mental Mayhem, Open Mind, and Disorder.

Now remastered and reissued as a 2LP set for 2025, Classics is available on vinyl for the first time since 2006, offering a long overdue opportunity to own these timeless cuts in their purest form. Across the 13 tracks, you'll hear the sheer force and innovation that made Beltram a household name in underground techno.

Integral to this collection are ‘Jazz 303’ and ‘Psycho Bass,’ co-produced with Norwegian techno innovator Per Martinsen (aka The Alien), which stand out for their experimental, forward-facing sound - highlighting a futuristic edge even within Beltram’s already pioneering catalogue. Elsewhere, his Second Phase project with Mundo Muzique delivers the seminal ‘Mentasm’ and ‘Mind To Mind,’ two foundational tracks that introduced the infamous “hoover” sound to dancefloors worldwide. Rounding out the set are deeper cuts under his aliases Mental Mayhem, Disorder, and Open Mind, capturing the breadth of Beltram’s restless creativity and technical command during his peak R&S years.
Classics’ by Joey Beltram is available on R&S Records from 25th July 2025.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

Manny Corchado should be a household name for all boogaloo fans. A true boogaloo gem that blends Manny Corchado's explosive rhythm with the melodic touch of salsa legend Nelson y sus Estrellas. His classic track 'Pow-Wow' is one of the most sought-after singles among collectors and DJs-not just for its A-side, but also for the absolute dance floor bomb hidden on its B-side: 'Chicken and Booze.' This instrumental recording features an irresistible rhythm section that could practically serve as the definition of the boogaloo genre itself. In this case, it plays at a faster tempo than other similar hits, making it even more effective on the dance floor. The horn arrangements create a catchy hook, spiced up with percussion breaks, all while driving its addictive, fast-paced groove. On the B-side of this single, we find another version of the same song-this time re-titled 'Aguardiente y Pollo' in Spanish-performed by Nelson y sus Estrellas. The tropical and salsa orchestra, founded in Venezuela by pianist, composer, and bandleader Nelson González Rojas, keeps the same punch and dance-driven focus as Corchado's version, but adds more melodic and sophisticated arrangements, in the style of the other tracks featured on the band's 1977 album, where this stunning cut was originally included (available here on a 45 for the first time). This Latin vinyl 45er is pure dance floor dynamite!

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household"s toes tapping. First time ever double sided, 45 RPM.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

The two-time GRAMMY Nominated timeless album, Malibu. After dropping his debut album, Venice, in 2014, and then being featured on six tracks on Dr. Dre’s Compton album in 2015, 2016’s Malibu marked a major landmark moment in Anderson .Paak’s now storied career and paved the way for him to be the household name he is today. Known by many as one of the best live performers around, and with countless brand collaborations, sold out tours, chart topping albums, and even a joint album with the legendary Bruno Mars to his name, it’s safe to say that Anderson .Paak has reached Icon status. This classic catalog piece features appearances from Schoolboy Q, The Game, BJ The Chicago Kid, and more.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "Unarian Dances", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Chaz Bear (formerly Bundick) was a musician from birth. Growing up, it was normal to hear music across genres, from Michael Jackson to Elvis Costello to The Specials, in the Bundick household. These influences were quite unique for a biracial kid growing up in South Carolina, contributing to the complexity of Chaz’s self-understanding and expression through his own music.

Chaz began playing and recording original compositions in his preteen years, forming multiple indie bands starting in middle school and continuing until his personal project, Toro y Moi, was signed by Carpark Records in 2009. Before getting signed, he was already an incredibly prolific artist, having released over 10 Toro y Moi albums on his own (and undoubtedly retaining a vast compendium of unreleased songs). His personal work drew upon a vaster array of influences than did his full band. Early Toro work called upon Chaz’s childhood exposure to 80’s R&B, pop and electronic music, while also evolving with his discoveries of acts like My Bloody Valentine and J Dilla and his burgeoning interest in French house. Just before his graduation from the University of South Carolina, where he earned a degree in graphic design, Chaz caught the attention of music bloggers and record labels with his dreamy, bedroom recordings.

Outer Peace, was written and recorded in the Bay Area after Chaz’s return from a one year stint in Portland. It is somewhat of a homecoming celebration, filled with features by friends and saturated with a playfulness that had not previously been embraced in past Toro albums. Outer Peace stands in contrast to the more sparse and contemplative Boo Boo, an album recorded while in Portland in relative isolation. With Outer Peace, Chaz showcases his ability to remain on the cutting edge of music’s evolution while not taking himself too seriously. There are contemporary hip hop references mixed in with funk, Eurodance and ambient elements, all interwoven expertly and retaining that quintessential Toro y Moi aesthetic.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Neue Sonderauflage auf Laguna Blue Vinyl des 2021er Samplers des kanadischen Emo-Trios Arm's Length mit ihren ersten beiden EPs, 'What's Mine Is Yours' (2019) & 'Everything Nice' (2021), die mit ihrem grossartigen, neuen Indie-Emo-Sound samt Pop-Punk-Anklägen direkt für Furore in den einschlägigen Magazinen von Pitchfork bis NPR sorgten.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play.
’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

Ziúr lines up with The Tapeworm for an exclusive cassette-only release featuring Kenichi Iwasa, exploring the electroacoustic realms.

Invited to perform solo at Tarek Atoui's performance series at Kunsthaus Bregenz in October 2024, Ziúr decided to write a new piece for the occasion. This composition, 'Turn Liquid Into Dust', was then performed within the framework of Tarek Atoui's 'Waters' Witness' exhibition as an 8-channel spacial audio piece, transmitting sounds through the installation's structure – metal bars, stones, compost piles… Composed in London in autumn 2024, its principal source of sonic material is recordings of Atoui's instruments which Ziúr had recorded in his studio in Paris during the summer of 2024. In addition, she invited the Japanese woodwind player and virtuoso Kenichi Iwasa to join on all pieces, his contribution providing a binding element, tying the pieces together.

Opener 'A Cold Drip' consists solely of Iwasa's spectral squalls. The tense noir drone of 'Long Call' features a string instrument built by Atoui. For the airy yet dense title track, Ziúr recorded an organ named The Reed Box, with Iwasa floating atop its smoggy soundbed. Closer 'Chips 'n' Crumbles' echos and reverberates with the rattles of household items Ziúr found around her home.

Driven by a relentless appetite for boundless experimentation, Ziúr has been subverting expectations since she was a teenager, corkscrewing through hardcore, metal and punk before veering towards electronic music's turbulent fringes. She produces just like she DJs, gathering a wide variety of ingredients and figuring out the most intriguing, unexpected ways to simmer them into a coherent narrative that helps listeners synchronize the conflicting messages that surround them. Genre isn't a fixed point for Ziúr, but a colour in a vast palette that stretches across history and borders, helping illustrate music that's powerfully subversive. Her The Tapeworm edition follows acclaimed recordings for Planet Mu, PAN, Objects Limited and Hakuna Kulala.

Kenichi Iwasa is a London-based improviser and multidisciplinary artist from Japan, also known for his legendary Krautrock Karaoke night as well as collaborations with visual artists and musicians such as Beatrice Dillon, Maxwell Sterling and Linder Sterling. He currently performs with Naima Karlsson under the name Exotic Sin.

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

Serenity Blue vinyl, 12" EP. Saturdays at Your Place is an alt-emo band from Kalamazoo, Michigan. 'always cloudy' is the band's fan-favorite 2023 EP, now available for the first time on Wax Bodega. The EP features their hit #1 streaming song, "tarot cards", with over 7M streams globally. The band is quickly becoming a household name in the emo scene, their sound consisting of both heavy and twinkly guitar parts, group vocals and heart on sleeve lyrics.

"Atria" is an exceptionally deep, easy-to-play-on-repeat work from Denver-based FOANS, a continuity of heartbreaking melodic interludes and nostalgic, otherworldly softness. Originally self-released in 2014, "Atria", comprised of 9 tracks simply titled "Diorama", is a plunge into dubby textures, meditative rhythmic cadence, lamenting chords, and shimmering neon pads. While growing to become a household name, especially for fans of 100% SILK and the now sadly defunct Danish label Speaker Footage, FOANS has offered numerous beloved releases over the last decade, showing listeners who stumble across his artistic microcosm that he has his own trademark sound, one that is often very recognizable even in a crowded space; a remnant from his early years as a bedroom producer, Atria shows us that FOANS’ sound has always shimmered, has always moved through heavy emotions and uneasy silliness. It will likely continue to do so for years to come.

Perfect Location Records is honored to commit this stunning work to vinyl for the first time, with a digital remaster for digital collectors as well. The record will be packaged in a black die-cut jacket and include a download code along with a small matte print of the acrylic-on-canvas cover art by painter Andrea Willems.

Limited run of 200 physical copies.

Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

A Christmas staple for households all around the world for decades, this wonderful collection of Pavarotti’s most festive music is now being officially reissued on vinyl for the first time to celebrate this treasured recording. This album captures the essence of the season with a collection of timeless carols and sacred songs, including the triumphant Adeste Fideles, year-round favourites such as Schubert’s Ave Maria, and the titular O Holy Night

Fabio Lione has become a household name in the Metal scene over the last 25 years.

When ATHENA XIX first appeared, they released 3 critically accliamed and beloved albums before Lione had to focus his talent completely on Rhapsody and Angra. Now ATHENA XIX are back with "Everflow Part 1: Frames Of Humanity" and beckon you to follow them on a travel through the human subconcious. The album includes high ranking guests like ex-Kamelot and current Conception vocalist Roy Khan.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."