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Mas O Menos was set up by South African born, Manchester based, DJ and Producer Levi Love. Levi has played numerous dancefloors across the globe for the past 13 years developing a fine palate for Deep House and electronica.

A chance meeting with one half of >ONE, MAKO MCR resulted in Levi signing the DUO and their APPLEBUSH offering. To Levi, Applebush reignites the memories of Johannesburg townships when he was a teenager, which at the time was infused with
Kwaito music. Slow BPM, synth heavy and trippy at times, APPLEBUSH takes it to another level of impressive technical acumen and blessed creative prowess.

>ONE is comprised of MAKO MCR and METRODOME. METRODOME is a known producer for World renowned RED LASER DISCO imprint alongside Manchester's LEVELZ & Wet Play collectives, working with artists like Amp Fiddler & Zed Bias, with a bevy of heavy hitters to his name. MAKO MCR is no newcomer to the scene as he boasts releases from numerous labels such as Hot'n'Heavy, Gradient Audio, Abaga records and
Echodub. The Applebush EP marks the start of their creative endeavors together with an already varied back catalogue of electronic music from across the spectrum to come.

Die neue AOTN 12" präsentiert zwei sehr unterschiedliche Dancefloor-Monster, die beide die seltene Disco-45 der New Yorker Band Sass von 1977 samplen: "Where Is the Love". Side A ist ein super-deeper, druggy Disco-Knaller von East Coast Love Affair. Als Gegengewicht wird die Flip von Kevin McCullagh (BDK) im Disco-House-Stil der späten 1990er definitiv ein paar Hintern in Bewegung bringen.

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words All Hell is an album about…

Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon ///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.

Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.

The follow up album to 2019's Dusted Jazz Volume 3. Pressed on 180 gram, White & Orange Marbled Vinyl. Jenova 7 emerges once again as a beacon of auditory innovation with his latest opus, Lost Sci-Fi Movie Themes. Released under the banner of Cold Busted, this collection of 16 tracks serves as a time machine, whisking listeners away on a journey through dimensions both familiar and uncharted since his last foray with 2019's Dusted Jazz Vol. 3. Jenova 7 has meticulously crafted an album that resonates with the essence of ‘90s trip hop nostalgia while propelling us into the cosmos of futuristic soundscapes. The album's standout tracks—“The Future 1995,” “My Zero G Love,” and “Downtown Lost In The City Of Lizards”—are masterclasses in genre-blending and atmospheric storytelling. "The Future 1995" envelops one in a nebula of boom-bap beats, cosmic sound effects, and b-movie vibes, creating a sonic experience that feels like intercepting radio signals from a distant, funk-infused galaxy. Meanwhile, “My Zero G Love” floats the listener through the velvety darkness of space with its sexy lounge feel, portamento synth lines, and the undeniable funk that glimmers under starlight—evoking the sensation of grooving in weightlessness. Then, there's “Downtown Lost In The City Of Lizards,” a track that saunters through the urban jungle with sparkling keys, evocative guitar spurts, and strutting jazz bass, painting a picture as vivid and surreal as its title suggests. Jenova 7's skill lies in his ability to fuse moody, jazz-inflected samples with grooves that draw one into a distinctly atmospheric sound—a cinematic journey through time, space, and emotion. His tracks are experiences, wrapping the listener in a cocoon of vibrant soundscapes that are both introspective and expansive. Lost Sci-Fi Movie Themes is an invitation to explore the unknown, to lose oneself in the depths of imagination and emerge on the other side transformed. For DJs looking to transport their audience to another dimension and for music fans yearning for a taste of nostalgia wrapped in the allure of the future, Jenova 7's latest release is a must-discover treasure. Dive in and let the odyssey begin

DJ Support: Dave Lee, Mousse T, Mark Knight, Michael Gray, Eric Kupper, Kenny Carpenter, David Harness, Seamus Haji, Melvo Baptists, John Morales, Julius Papp, Dj Romain, Luis Radio, Birdee, Lego and many others…

Groove Culture on going ‘jams’ series of compilation style vinyl EPs has long been a reliable source of disco-house fired excellence, and this 4th edition is another high-quality affair. Package incl. Music from Micky More & Andy Tee, Reverendos Of Soul, Soulista, Serge Funk and Right To Life.

Plush, the 1982 studio album by the Eighties synth-boogie band Plush, is a standout in the genre. The band, consisting of Siedah Garrett, Tony Phillips, and Ambrose Price, was known for their smooth blend of R&B, funk, and synth-driven melodies. Garrett, who later gained fame as a solo artist and songwriter, brought a distinctive vocal presence to the band. Not long after the band broke up, she was discovered by Michael Jackson, for who she later provided backing vocals and co-wrote ""Man In The Mirror"" with. The album was produced by Bobby Watson, René Moore and Angela Winbush. It features catchy tracks like ""Free and Easy"" and ""We’ve Got the Love,"" showcasing their polished production and soulful harmonies. Despite not achieving major commercial success, Plush has garnered a cult following for its authentic early Eighties sound. It's a significant work within the disco boogie genre, reflecting the transitional period of early Eighties music and is one of the rare and sought-after albums from that era. Plush is available on coloured vinyl for the first time as a limited edition of 500 copies on red coloured vinyl and includes an insert.

Renowned New Zealand musician Nathan Haines announces his eleventh studio album and first solo album since 2014. Nathan’s vibrant career has solidified his status as a leading figure in contemporary jazz and electronic music, and throughout his career he has distinguished himself as a masterful saxophonist, flautist, and composer, celebrated for his innovative fusion of jazz with elements of soul, funk, and dance music. Notes maintains the jazz sound he is famed for, whilst also seeing the artist embrace the electronic/house and disco scene.

A labour of love, work on the album started several years ago alongside the now deceased UK producer Phil Asher who had produced Nathan’s two most successful albums Sound Travels and Squire For Hire. Regarded as one of the finest DJ’s and producers to emerge from the UK, playing a pivotal role in bridging the gap between 4/4 and broken beat, this was the first time Nathan and Phil had worked together in over eighteen years. Phil passed away during the recording of the album, but he appears on a number of tracks, and his spirit and influence can be felt throughout the entire release.

The album features a number of guest vocalists, including UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kaidi Tatham, Kyoto Jazz Massive), and exciting young talent Ajuna Oakes, Ruby Cesan, La Coco and EO (NZ). Alongside Nathan’s own musicianship, the album also features bass from Razor-N-Tape label founder Jkriv and electronic jazz pioneer Mark de Clive-Lowe, with both bringing a wealth of collaboration and musicality to the project. Long time collaborator and much respected UK based producer Marc Mac (one half the highly influential and respected duo 4Hero) provides beats for a number alongside Nathan’s father Kevin on acoustic bass.

Highly respected DJ and producer Frank Booker (Razor and Tape) drops his signature beats on three tracks which fits nicely alongside Asher’s drum work. The album’s one cover see’s Nathan teaming up with vocalist Rachel Clarke on their version of Storm by US 80’s vocal group Rare Silk - this track is entirely acoustic and is one of the album’s special moments both artistically and musically.

The past years have seen Haines continuing to establish himself as one of NZ's best DJs and live performers, working on releases and remixes with the likes of Chaos in the CBD, Frank Booker, JKriv, Ray Mang and many others. He has also just released a solo album on Goldie's Metalheadz label under his Sci-clone alias co-produced with DJ A-Sides to excellent reviews and featuring a wealth of talent and musicianship.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

Guadeloupe’s Manix is a self taught musician drawing inspiration from traditional Caribbean Folk and Beguine, to Salsa, Reggae and beyond. In 1980 Manix met the group ‘Tamtam 2000’ in Mulhouse, France. Embarking on many worldwide tours, Manix cemented his place in the group with 'Ti Cherie’ becoming a global hit beloved throughout the Antilles, Cape Verde, and La Réunion. Describing his singular philosophy of inciting joy ”At this moment I realised quickly that the simple act of playing wasn't just about one’s own satisfaction, but rather the need to create and share music”.

Browsing the French Football Federation's website, Dijon’s ‘Under Radaar’ was able to track down Manix as he was once the match report coordinator for his club ‘Red Star Richwiller’. It’s now our pleasure to share his music once again.

Words from Manix:
"Now in my 70s, what a joy it is to discover my songs now being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my believe that both music and love will never die”

We are so excited to share our debut release which has already received support from Antal, Hunee and Palms Trax.

Make some music. A noise that’s fun. Dance to it. This is how we do it.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

You could call Wishy's story a lucky one. After prior monikers and iterations, Wishy was born as a kaleidoscope of alternative music's semi-recent history, with traces of shoegaze, grunge and power-pop swirling together. On Triple Seven, Indiana songwriters Kevin Krauter and Nina Pitchkites' musical synergy proves itself to be a rare one-the kind that sounds like someone striking gold. Part sly wink and part warm gratitude, it's only fitting their much anticipated full length debut is titled Triple Seven, where Wishy's penchant for indelible hooks is couched equally in pillowy atmospherics and scathing distortion. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. Coming up in a scene defined by hardcore and emo, Krauter and Pitchkites instead found themselves writing melodies in their heads while driving to work, pulling music from the air and arriving at a blearier, more ethereal interpretation of Midwest expanse. Initially, their music oscillated between hazy dream-pop and heavier alt-rock. The subject of their songs create a loose web of vignettes and snapshots, capturing Krauter and Pitchkites in a whirlwind couple of years _ exiting the pandemic, embarking on an embryonic project, making sense of their musical pasts while forging a musical future alongside one another, each of them on a journey of self-acceptance and self-understanding. Sometimes gorgeous, sometimes festering, and always cathartic, Triple Seven is a vibrant and exhilarating document of self-discovery with the scope and heft of the bygone big-budget rock albums that inspired it.

Dance floor in need of a little spark? Need some extra ammo in the record bag for this weekend’s set? Pleasure of Love has the key to your ignition with a new series of specialty re-edits from the vaults. "Covers Blown Vol. 1," features a pair of unlikely disco classics expertly done up in a smokin' tex-mex style

Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip-Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back” which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and started making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride” and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alik

A truly one-of-a-kind artist, Kaitlin Butts has a deep affinity for country music’s more theatrical side: the extravagant storytelling, dazzling showmanship, songs embedded with both unbridled emotion and quick-fire humor. After discovering her passion for performing as a little girl, the Tulsa native later brought her boundless energy and radiant voice to her own unapologetic yet soulful songwriting. When it came time to create her third album, the Nashville-based musician leaned into her lifelong love of musical theater and dreamed up a modern-day reimagining of the soundtrack to her all-time favorite musical, Rodgers and Hammerstein’s Oklahoma! The result: a high-concept but candidly autobiographical LP called Roadrunner!, whose 17 powerhouse songs show the full force and extraordinary depth of Butts’ artistry for the very first time. Produced by Oran Thornton (Brent Cobb, Logan Brill), Roadrunner! marks a major tonal shift from Butts’ 2022 sophomore LP what else can she do, a character-driven exploration of complex matters like addiction, domestic violence, and generational trauma. “With the last album I wanted to write about the struggles I’d seen people go through or experienced myself, so a lot of the songs had a sadness or darkness to them,” she says. “I feel like Roadrunner! is much closer to what I’m like onstage, where there’s real emotion and truth but also humor and a tendency to poke fun. It’s all those different versions of me at once.”

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"

Released via Sony CMG - This is a reissue of HiM's album, "Deep Shadow & Brilliant Highlights". HIM's third album, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners. Single Black LP Vinyl.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. This release marks an evolution in Strut's approach to compilations, showcasing emerging DJ talent from across the world and embracing an innovative approach to musical discovery from the next wave of selectors. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day.

Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”

The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.

‘A Dancefloor In Ndola’ is released on 2LP and CD and features exclusive new edits by Kampire alongside personal liner notes tracing her links to the music. Cover artwork montage is by Canon Rumanzi and vinyl restoration / mastering by The Carvery
Debut compilation by one of East Africa’s leading new generation DJs, Kampire.
Mix of African classics and rarities spanning 1970s – 1990s from Congolese soukous, South African bubblegum and Zambian kalindula.
Shining the spotlight on women in African music Pembey Sheiro, Feza Shamamba and Princesse Mandisa M’bila.
Exclusive cover artwork collage by Canon Rumanzi.
Worldwide DJ dates supporting release during Summer and Autumn 2024.

In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"

Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.

Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Repress!

The label has a simple mantra; no frills club cuts designed for the dancefloor. For their second outing, Demi Riquísimo has enlisted Kiosk Radio and Fuse Brussels resident DC Salas to fulfill the brief, via the ‘Tio’ EP.

A DJ noted for his versatility with his sets effortlessly melding a plethora of styles from house, techno and trance to disco & new beat. This broad range of influences is on full display on the buttons as DC Salas shows his range as a producer right across the ‘Tio’ EP.

The EP kicks off with the emotive title track ‘Tio’. DC explains the context:

“It features the voice of my godfather (my dad’s uncle, who was like a brother to him) who passed away unexpectedly some months ago. We found a video of him (he hated being filmed) one week after he passed away, with a wonderful talk he did on his birthday last year. The vocal is an extract of this video.”

Up next is 'Fearless Is More', a track where DC’s production dexterity comes to the fore. The track combines elements of 90’s trance, with a jackin’ bass line and vocal samples that evoke images of the early Amnesia Ibiza golden era.

The B-side opens with 'Never Ending Story', another track which speaks to Salas’ vast array of influences with a synth topline sounding like it was straight out of the Ancienne Belgique. 'A Departure' chugs along menacingly with an acid house flourish in its second stanza, for some peak time perfection. The EP is completed with 'Slowtospeed', which juxtaposes melancholic pads with progressive synths and a driving to bass to make for an extremely well rounded first outing for DC Salas on the burgeoning imprint.


DJ Feedback:

Job Jobse - Great release!!!

Make A Dance - this is wicked, Never Ending Story is the track for me.

Kiara Scuro - Absolutely love this! Definitely will be playing.

Dave Harvey - This is great.

Tech Support / Asa Tate - DC is king!

Timo Deeprhythms / Echocentric Records - Stupid good release!

REES - Love this one!

Martyn Bootyspoon - Absolutely send these over!!

Sara Miller / Public Possession - Really really like this record. Totally my vibe :) All are excellent tracks but Fearless is More is my fave. But really digging Never Ending Story and Tio too!

Aletha / Rinse FM - Sounding perfect for my sets at dimensions

Aiden Francis - Wooooah, love these. Such a varied release!

Ciel - I love the A1 on this! Tio is gorgeous.

Holly Lester - Great release, Tio is biggg!

For its next outing, the Nebraska label has curated a mini best-of EP that serves up a quartet of tunes that have been digital only until now. Side A opens with 'Senza Parole,' featuring a weird and wonderful vocal sound and some loose hand claps under Italo-infused disco-funk drums. 'Let Me Be The One' is a nice tripped pout and slow motion 90s downtempo jam and 'Funkbraska' is an homage to French Touch with filtered synth loops fizzing with sugar goodness over a characterful bassline, and last of all is 'Love + Hate', another low slung hose groove that oozes cool and has a fantastic bassline propping it up.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

After meeting in 1992 as members of St Etienne's touring band, Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) turned their shared love of the soft rock and sunshine pop of the 1960s and 1970s into the now-legendary Birdie. In the summer of 1998 Birdie recorded their debut album "Some Dusty" with the estimable Brian O'Shaughnessy (Denim, Moose, The Clientele). It's a deep and beautiful album, with melodic & sophisticated (yet understated) arrangements providing the perfect setting for Debsey's sweet and soulful soft-pop vocals. Add in gorgeous string arrangements from The High Llamas' Sean O'Hagan and you have all the makings of a pop classic.

Subsequent singles and a second album cemented their reputation as top-notch purveyors of pop, but family life and other artistic pursuits called and Birdie has only been sporadically active since 2001. Their brief but perfectly-formed discography has become the stuff of legend, though, charming savvy pop fans around the world with its timeless songcraft and flawless production.

Summer 2024 will see the long overdue vinyl reissue of "Some Dusty" on US indie label Slumberland Records, returning this classic album to much-needed availability in deluxe remastered form with a deluxe 60s-style laminated heavy card jacket and a fine insert with rare photos and liner notes by Chickfactor’s Gail O’Hara.

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

"Limited-Edition, 1LP on Sea Blue Vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Dead's second Arista album, 1978's SHAKEDOWN STREET was the follow up to their excellent and successful Terrapin Station album from the previous year. Drawing on several influences and inspirations including disco and world music, at its heart, SHAKEDOWN STREET is an unabashed rock and roll album, filled with exceptional studio performances of some of the Dead's most-loved songs, including “Fire On The Mountain,” “Stagger Lee,” “I Need A Miracle,” and the title track. A couple of reworked throwbacks from the Dead's earliest days, “Good Lovin'” and “All New Minglewood Blues,” adds to the album's rock bona fides. Produced by none other than Little Feat's Lowell George, SHAKEDOWN STREET is a beautifully produced nuanced album that stands the test of time more than 45 years since its release.”- David Lemieux"

"Limited-Edition, 1LP on Sea Blue Vinyl. Newly Mastered by GRAMMY® Award-winning engineer David Glasser, with Plangent Processes™ tape restoration and speed correction. Produced for release by David Lemieux.
“The Dead's second Arista album, 1978's SHAKEDOWN STREET was the follow up to their excellent and successful Terrapin Station album from the previous year. Drawing on several influences and inspirations including disco and world music, at its heart, SHAKEDOWN STREET is an unabashed rock and roll album, filled with exceptional studio performances of some of the Dead's most-loved songs, including “Fire On The Mountain,” “Stagger Lee,” “I Need A Miracle,” and the title track. A couple of reworked throwbacks from the Dead's earliest days, “Good Lovin'” and “All New Minglewood Blues,” adds to the album's rock bona fides. Produced by none other than Little Feat's Lowell George, SHAKEDOWN STREET is a beautifully produced nuanced album that stands the test of time more than 45 years since its release.”- David Lemieux"

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Warehouse Find!

As I-Robots launches a new compilation series that celebrates the roots and influences of Italo disco in Turin and the Piedmont region, the Opilec Music boss also offers up various singles from it with some special remixes and edits. After an EP from Johnson Righeira last summer comes the latest one featuring the legendary Captain Torkive and two of his tracks as well as some special versions by I-Robots. Captain Torkive is Daniele Torchio, an Italian artist active in the late seventies & early eighties who got his nickname from a love of UFOs and space, in fact the titles here are inspired by the Superman DC Comics classic.
He has worked with the likes of Valero Liboni and all the material here is officially licensed from Ponzo Records master tapes. His tracks here are some of the most rare 7" Italo space disco tunes from Turin's rich history and feature synthesizers and electronic effects that he made himself, as well as guitars and keys he also played. Up first comes the I-Robots 1979 Reconstruction of Flying Saucers To Krypton which marries both tunes into a lush retro space odyssey that shimmers and rockets through the cosmos with live drums and jangling bass. Rounding off the A side is 1979 original version of Krypton' which is just as dazzling and spaced out with layers of synths and arps all sounding squelchy beneath some robot vocals. Kicking off the B side is the I-Robots 1979 Space Reconstruction of Flying Saucers To Krypton that strips some of the layers and keeps one lead synth line and some ascending spaceship sounds, as well as a lovably loose groove that really stomps along with real character. Last but not least is the original 1979 version of Flying Saucers, a cosmic tune with sci-fi sounds and melodies shooting about above big disco grooves with the keys and synths that carries you away to another galaxy. This is another essential package from Opliec Music that shines a light on an artist and era that deserves all the attention it can get.

Discover the incomparable musicality of Peter Kraus with this unique vinyl collection of his greatest hits. Peter Kraus, the legendary German rock‘n‘roll star and variety singer, has had a decisive influence on the musical landscape since the 1950s.

This album is a must-have for all fans and collectors who want to enjoy the timeless hits of this exceptional artist again and again. Rock out to “Tutti Frutti”, “Susi Rock”, “Mit Siebzehn”, “Wenn Teenager Träumen”, and much more.

ZYX Italo Disco: Flemming Dalum Remixes Vol. 3 sparkles with 8 selected remixes by the Danish Italo Disco legend. Flemming‘s remixes seduce with their modern, perfectly produced sound, but remain close enough to the original to convey the typical Italo Disco vibe of the '80s.

Jasper Street Co. is one of the House Music community’s signature artist endeavors. Produced by Baltimore’s legendary production team The Basement Boys, and consisting of a collection of singers who can emote on the highest level of gospel, soulful and peak hour house, this collective has been riding high for years and is now going next level with the recent release of the “Rejoicing” album on Nervous Records. Prior releases from the album have skyrocketed to the top of DJ sales and club charts, with “Praying For You” being nominated for a Grammy for the Louie Vega remix in the Best Remixed Recording (non-classical) category.

Up next is a cover version of a song originally recorded by Teddy Pendergrass. Written and produced by Gamble & Huff, “You’re My Latest, My Greatest Inspiration” was originally released on Philly International Records in 1981. It was a massive R&B & Disco hit back then, and now has been updated by Jasper Street Co. for the house music community. The single package has an outstanding collection of remixers on board who make the project something even more special for the purists but also will launch into the larger worldwide music community. Teddy Douglas produced the original album version, but comes back for another take while adding some serious bass / kick drum juice with his Teddy Douglas Bass Intro Remix. Micfreak and DJ Spen put a highly creative spin on the original with some added effects on the vocal and a piano line that soars into the highest level of peak hour house energy with their Higher Love Remixes. Tensnake also gives it a very distinctive and infectious groove, while Dr. Packer takes all the original elements and uses his great talents and appreciation for soulful house and disco to make this project even more essential for house purists than it already is!

Double Vinyl package on Feb. 5 on Nervous Records. Includes custom jacket and yellow vinyl.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Freerange welcomes back dutch producer Yannick Roberts for his follow up to his 2022 I Can’t Hide From Myself EP. That release gained club spins and chart support from the likes of Dave Lee, Jamie 3:26, Luke Solomon and Fred Everything and became a hit with lovers of deep, disco-influenced Detroit house sounds as championed by fellow countrymen such as Dam Swindle, Fouk and Nachtbraker.

Opening track Grace sets the tone with a chunky groover guaranteed to set the right mood on the dance floor. Next up Yannick picks up the pace with Anyone (This Late At Night Mix) which uses syncopated synth stabs and a simple two note bassline to create peak time energy levels.

Amsterdam Nights keeps things bubbling along nicely with fat 909 beats, piano stabs and intense vocal samples while the EP closes out in fine fashion with All For You. Four tracks which perfectly demonstrate Yannick’s knack for producing quality club tunes.

Emotional Rescue continues its love affair with Glen Ricks here by reissuing his solo debut release. 'Keep On Dancing' is a cult and hugely coveted cut that fuses disco and reggae in some style. Ricks had a first successful musical career in The Fabulous Flames then moved between Canada and Jamaica and eventually got stuck into music in earnest again in the Caribbean. He wrote this one with writer and producer Chris Stanley and it came out first on 7" in 1981, then on 12" a year later. It has a superbly soulful vocal and a groove full of subtle bump that is sure to bring joy to any dancefloor. Idjut Boys' Dan Tyler also adds his own spin under his NAD alias for a more heavy and dub-laden take.

Les Disques Bongo Joe are proud to be home of the new volume of DJ soFa's well known curation work Elsewhere series with Elsewhere CC! This ninth exploration of our beloved Bruxelles based cratedigger and producer (Mameen 3, Nyati Mayi & The astral Synth Transmitters, ...) is an ode to summer and groove!

The ninth edition in the Elsewhere series is a real digger’s paradise of tropical gems, from Trinidad to Brazil, Poland, Dominica, and beyond. The compilation is an eclecticmix of outernational, tropical-wave, Calypso, multi-rhythmic percussive beats, lo-fi disco jams, and other such styles that lie somewhere in that magical in-between zone. Compiled by Brussels-based DJ, tastemaker and producer soFa, Elsewhere Vol.9 CC is a perfect collection of Balearic, good-vibe, sunshine rarities, to soundtrack a cocktail session on a reclusive, tropical beach, featuring rare tunes and some of the artist’s own unique productions and collaborations.

Modern day selector, 7” detective, international cratedigger, and self-styled musical activist DJ soFa, aka. soFa Elsewhere, is renowned for his borderless approach to curation. Adapting his unconventional and radical approach to DJing to his acclaimed compilation series, soFa’s goal has always been to expand horizons, highlight scenes, and tell stories. And herein lies the beauty behind the latest edition in the Elsewhere series. Behind every great record, is an even bigger story, and Elsewhere CC, has plenty of them...

Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.

Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.

While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!


Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop!

The UK’s first and only emo band Los Campesinos! return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we’ve come to love about LC! over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the band’s own Heart Swells record label.

In the band’s words All Hell is an album about…

Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // suburban boredom // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon ///

Los Campesinos! have become one of the most important and influential cult acts in the UK since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts, the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster… (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are US emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Now with the release of All Hell, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

This is the highly demanded second edition of System Olympia's first release "Dusk & Dreamland" EP.

Originally pressed by a small italian label in an unknown number of copies, this EP was the first appearance of System Olympia' very own blend of funk, melancholy and female sensuality that defined a whole new department in the italo/nu disco scene.

Features two new original tracks never pressed on vinyl before, Girl On Girl and Signal Your Love, and a new edition of the cover art illustrated by Pip Carter. Essential record for your home collection, club nights, late night car rides and bedroom entertainment.

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".s*

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world.

Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.”

Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose.

Il progetto "Muzic Family", nasce da collaborazioni di lunga data con ar+s+ molto importan+, come Fred Ventura & Paolo Gozze/ aka Italoconnec+on, Roberto Tura/, Maury Pirotta aka Pirmaut, NU.MA., Annerley Gordon, Mark Hoogkamer...tu/ insieme per il nuovissimo singolo di Stylóo "I'm Gonna Dance", in 5 fantas+che versioni + una bellissima b-side, "Crimson & Clover"

Flevans, vielseitiger Produzent und Multiinstrumentalist aus dem südenglischen Brighton, ist bekannt dafür, sich nie auf einen bestimmten Sound festzulegen. Auf seiner neuen LP "Stand Tall" beweist er einmal wieder sein Gespür für den perfekten Hook, während er Genres wie Disco, Soul und Electronica durchquert und abschliessend auf Drum & Bass hinweist.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

2024 Repress

Great classic and timeless tune of the 80s and French Boogie scene, « Histoire d’1 Soir (Bye bye les galères) » is an ode to party, liberty, youth and freedom, interpreted by Bibi Flash aka Brigitte Gasté, an atypical singer from the French Boogie.

With its light lyrics and mythical chorus, its euphoria and irresistible disco-rap vibe, this track produced by Philippe Renaux (Holly Guns, Clever, Pianola…) released in 1983 is a sincere photography of its time, during which these children of the « summer of love » and May 68 criss-crossed Paris in search of endless nights, pleasure and freedom.

A prized and rare record which is nowadays repressed by Barbecue imprint in 2021, in its 12’’ version, with the original, the Disco Mix, instrumental and the A Cappella, and is accompanied by a new modern and festive edit by French house producer Blutch.

As a bonus, an insert with exclusive texts and photos by Bibi Flash and Philippe Renaux, in a fun and flash universe full of bright colors, revealing the spirit of these good old times.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

Il progetto "Muzic Family", nasce da collaborazioni di lunga data con ar+s+ molto importan+, come Fred Ventura & Paolo Gozze/ aka Italoconnec+on, Roberto Tura/, Maury Pirotta aka Pirmaut, NU.MA., Annerley Gordon, Mark Hoogkamer...tu/ insieme per il nuovissimo singolo di Stylóo "I'm Gonna Dance", in 5 fantas+che versioni + una bellissima b-side, "Crimson & Clover"

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

Michael The Lion and Natasha Kitty Katt began collaborating as Natasha found a second home in Philadelphia. The two have a mutual love of classic disco and found a kindred spirit in Suki Soul, who has been tearing up the scene the last few years in Northern England. I Found Peace features Michael on guitar and Natahsha on drum machines and synths alongside Michael’s long-time studio band mates. Classical composer and legendary Pittsburgh hip hop producer Jules Krishnamurti adds bass guitar and University of Pennsylvnia jazz ensemble leader Dan Paul plays keyboards on this incredible modern disco classic. Pontchartrain brings all the right touches to the club mix, along side some heavy house mixes by Tonarunur (aka B.G. Baarregaard) to round out the first Whiskey Disco release in several years.

"Enjoy The Ride Records in conjunction with Paramount Pictures proudly present Rolfe Kent's score to Election (Music From The Motion Picture).

Reese Witherspoon is Tracy Flick, a straight ""A"" go-getter who's determined to be president of Carver High's student body. But when popular teacher Jim McAllister (Matthew Broderick) observes the zealous political locomotive that is Tracy, he decides to derail her obsessive overachieving by recruiting an opposition candidate (Chris Klein) - with disastrous results! Here's a smart, witty, and hilarious jab at high school politics helmed by award-winning director Alexander Payne (The Holdovers, Sideways)."

For fans of - Darko, Bad Omens, Deftones, Alice In Chains On tour in the US April- May 2024 w/ Attila + Born Of Osiris Band names go a long way in helping paint a figurative picture in the listeners mind of what to expect before one ever hits “play.” When it comes to Extortionist, you think crime—you think gritty, raw, merciless and unsavory and maybe, just maybe, a little sprinkling of suaveness. When it comes to the Pacific Northwest’s resident moshslingers, those premonitions from their name are exactly what you get. As a band who have proven themselves exemplary at styles of heavy music ranging from downtempo deathcore to grunge- tinted metal, Extortionist are more than just a jack-of-all-trades; they’re masters. Utilizing bold, roaring guitars overtop crushing, steamrolling percussion and vocals that run the gamut from guttural to grating, pitched singing and topped off with—you guessed it—a now-infamous dodgeball-smack snare, Extortionist have proven that not only are they incredible at what they do, they’re a band that the heavy scene just can’t go without.

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

Das neue kollaborative Solo-Album des Hot Chip Frontmanns Joe Goddard feat. Eno Williams von Ibibio Sound Machine, dem britische Rapper Oranje, dem frühere Wild Beasts-Frontmann Hayden Thorpe, Hot Chips Alexis Taylor + Al Doyle, Tom McFarland von Jungle, sowie die in der Bronx aufgewachsene Sänger Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

Auf 14 Tracks mit Einflüssen von UK-Garage, House, Hip-Hop, Pop und Disco - bietet Goddard den Raum für eine Reihe von Kollaborateuren. Die Stimme von Ibibio Sound Machine's Eno Williams reitet auf dem Afro-House-Groove von "Progress", während im Boom-Bap-Track "When Love's Out of Fashion" der britische Rapper Oranje auftritt. Der frühere Wild Beasts-Frontmann Hayden Thorpe leiht seine einzigartig ausdrucksstarke Stimme dem Low-Slung-House-Stück "Summon", und Joes Hot Chip-Bandkollegen Alexis Taylor und Al Doyle treten beide auf der glänzenden Half-Step-Ballade "Heal Your Mind" auf. Weitere Gäste auf Harmonics sind Tom McFarland von der Londoner Dance-Pop-Gruppe Jungle, die in der Bronx aufgewachsene Sängerin Fiorious (auf der Single "New World (Flow)"), der Sängerin Barrie aus Brooklyn (auf der Single "Moments Die"), der guineisch Sänger Falle Nioke und der britische Jazzmusiker Alabaster DePlume.

- 140G schwarze 2LP im Gatefold Sleeve inkl. 2-seitigem Einleger und Downloadkart

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new. Paint a Room features Jeff Parker contributing the fluttering horn arrangement on "Damage," and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello's Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record.

Shall Not Fade celebrate their 8 year anniversary with a double LP featuring brand new music from their label family!

Magic Combo is a vinyl-only label that specializes in limited edition edits of iconic original tracks, symbolizing the rich diversity of musical genres such as Afro, Funk, Jazz, Blues, R&B, and Classic House. This label is a melting pot of emotions, love, and musical improvisations, brought to you by a dynamic combination of emerging Italian and international musicians, DJs, and producers. Each release is a carefully curated selection that represents the soul of its genre, offering a unique listening experience that transcends the ordinary.

The Magic Combo label is not just about music; it’s about creating a connection between the listener and the sounds that have shaped generations. Our limited edition vinyl are a testament to the enduring power of music and the magic that happens when different cultures and sounds collide. It’s a celebration of the past, present, and future of music, encapsulating the essence of each genre while pushing the boundaries of what’s possible. Join us on a journey through sound with Magic Combo, where every record is a story, every beat a heartbeat, and every spin a new discovery. This is where the magic of vinyl comes alive, and where the love for music is immortalized in every groove.

Der Fußabdruck, den das Duo Modern Talking hinterlassen
hat, ist unbestreitbar. Bereits in den 1980er Jahren war der
von Dieter Bohlen, Luis Rodriguez und Rolf Kohler kreierte
Sound eine Inspiration für viele Produzenten elektronischer
Discomusik aus Ländern wie Italien, Frankreich, USA,
Griechenland, Niederlande, Schweden oder der Schweiz. Die
Sehnsucht nach der romantischen Disco verblasst nicht, und
einer ihrer interessantesten Vertreter ist das rumänische
Projekt Romantic Avenue. Perfekt nachempfundene Klänge
und Abläufe, als ob sie 1985 im Studio 33 entstanden wären.
Jetzt, wo die Vinyl-Version dieses sehr erfolgreichen Albums
gerade erschienen ist, liefern wir die digitale Version mit
gekürzten Versionen, die speziell für eine Vinyl-LP gemischt
wurden.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

We're back! And we've brought some local aussie legends to join us on a cosmic outback bush boogie with 4 x epic dub-olicious, psych rock, Afro disco jams. On the A-side is the Space Jockeys who consist of Ash Moses (Tunnel Signs) and David Smith of mid 80's and 90's seminal dance act 'Boxcar' fame. If you don't know who Boxcar are then you need to hit that search tab and get familiar! Space Jockeys deliver an epic twist on Kingdom Comes - Time Captives, followed by Barney In The Tunnel with their take on classic Australian psych rock group The Ferrets - Tripsville. On the B-side Jerk Boy delivers some JB Edit re rubs of Snakeskin Tracksuit by African Head Charge followed by Super Mama Djombo's funky number tittled Dissan Na M'bera. JD Twitch (Optimo) - super good Charles Webster - headcharge edit is my fave here....thnx Fred Everything - Sankeskin and Time Captains for me thanks! Rob Da Bank () - wondrous music! Kenny Carpenter - Love this track. Horse Meat Disco (Severino) (Severino) - yeeeeees DJ Coco (Nitsa / Primavera Sound) - great, thanks!

"Universal." That is the word that Tristan Hallis proudly states when describing his inaugural entry into DJ-Kicks" storied lineage. As DJ BORING, the Australian DJ and producer has forged a vibrant and illustrious career that has taken him to all corners of the globe.

When Jazz Meets Italo-Disco. Two Italian legends meet and deliver a unique contemporary jazz-house fusion! ''Stefano Cantini is a well-known saxophonist in the Italian and international jazz scene. In recent years he has focused on a project called Living Coltrane with Ares Tavolazzi, Francesco Maccianti and Piero Borri. Stefano and Maurizio Dami (Alexander Robotnick) had worked together for a while in the mid '80s and Stefano also played on GMM's album (''Love Supreme'' is the best known track). Since then, Stefano has focused totally on Jazz whilst Maurizio Dami produced World Music in the '90s and later on, under the artist name Alexander Robotnick, retrieved in 2000, turned to electronic music again, so the two musicians lost track of each other for 40 years. Robotnick says, ''In March 2023 I received a call from a club in Pisa, Cantiere San Bernardo. They asked me whether I could play live with Stefano ''Cocco'' Cantini on the occasion of a special event dedicated to Giovanotti Mondani Meccanici. I called him and he answered enthusiastically. Shortly before the concert we rehearsed at the Follonica Music School which he directs. He improvised with me on the bases of my live. We liked our rehearsal and a few days later, on June 2nd 2023, we played in Pisa with much success. So came the idea of doing something together. We decided to produce an EP featuring 3 tracks. On some of my bases Stefano created a harmonic texture to improvise on. I mainly took care of the arrangement and the production. But what we play is the result of improvisation, with hardly any editing. It's amazing how we managed to work together so smoothly after so many years, as if we had never stopped. We called this project 'Robocok'''. They are modal tracks with a techno approach and harmonically open. Almost a provocation to the staticity of contemporary dance. On ''Francocco'' and ''Frigiococco'' Stefano plays soprano sax whilst on ''Afrococco'' he plays alto. Guglielmo Bottin took the task of making a remix. He picked ''Francocco'' and skilfully turned it into a pure drums and piano groove. Perfect for the dancefloor.''

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

Warehouse Find!

Undoubtedly one of the most exciting acts to have emerged in drum & bass over the past decade, Voltage has joined forces with Hospital Records for the release of his long-awaited studio album 'Balance Over Symmetry' which marks the tenth year of his journey as a solo artist.

No stranger to the Hospital family with an album, 2 EPs and a handful of singles under his belt as part of drum & bass powerhouse group Kings Of The Rollers, it's now time to explore the solo sounds of Voltage which have slowly but surely carved him to be one of the most respected DJ & producers in the scene.

In his true rambunctious style, Voltage sets the swing with a wild card. 'So Close' is a sub-120BPM synthwave weapon which matches his retro-inspired fashion to his musical vibrations. The combination of catchy vocals, an 80s-esque bassline and an unforgettable topline melody sees the creation of something extremely different yet irresistible from Voltage.

Not straying too far from the roots of his influences, 'Natty Love' features the groove inducing vocals of sound system legend Sweetie Irie. Saturated sub wobbles juxtaposed with potent string plucks are intertwined with ease, peppered with that signature Voltage flair.

Teaming up with reggae and dancehall superstar Demolition Man known for his skill as a vocalist, producer, MC and sound engineer, 'Life Of A DJ' combines the sounds of Demo's with Voltage's unmissable sonic technique. 'Save Me From Myself' exposes
the lighter side to Voltage as he illustrates his versatility as an artist through a soul-heavy amen roller with a classic liquid bassline.

Reminiscent of the days of euphoric hardcore, 'Keep On Dancing' sets the vibe with uplifting piano chops and adrenalised vocals as crunchy snaps and rhythmic cymbals keep things moving beneath. An iconic duo to everyone who knows their drum & bass, Voltage and Evil B come together for 'Odyssey' which sees ambient soundscapes
and earnest lyrics on a truly heartfelt piece of music.

With releases on foundational imprints such as Metalheadz, 31 Recordings, RAM, Souped Up and Spearhead to name a few, Voltage's discography speaks for itself in laying down his years’ worth of experience within drum & bass. With support for his productions coming from a wide range of influential selectors including the likes of Andy C, Hype, Friction, Goldie, Bailey, Hazard and Bryan Gee, it's safe to say that 10 years of Voltage has been a remarkable decade to say the least. Here's to 10 more…

Charles Levine is best known as one half of SoulClap, the love-fuelled production and DJ duo that brought all new emotions to the dance music scene when they first emerged in the mid-noughties. MartinButtrich is an acclaimed studio wizard and Grammy-nominated producer with an enviable discography that pairs meticulous synth craft with compelling grooves from across the house spectrum. Together, the two have formed a close friendship originally stemming from a 2016 collaboration where Buttrich mixed and added production to Soul Clap’s self-titled second album which was released on !K7 Records. Since then, Buttrich and Levine have worked their way through a variety of studio sessions, exciting moments of synthesis and deep philosophical wax-ings, ultimately culminating in this present moment in time on Stratasonic.

They open up their new EP with 'Festival Queen', a powerful and fulsome cut with angelic vocals working you into a frenzied state as the percussive grooves power on. After a pulsating, stripped-back Dub allows the colourful synth work to shine, 'Festival Queen Reprise' is stripped of the drums and becomes a more heavenly piece perfect for comedowns.'Charlie & The Moog' is a deep and playful trippy affair with languid synths bringing cheeky energy to the loose-limbed drums. It's a cosmic world of ever-shift-ing melody that warps space and time, and a dub gets even more wonderfully woozy.