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Ekoplekz is Nick Edwards from Bristol, UK. He made waves in the 2010s with his distinctive brand of lo-fi analogue electronica for labels such as Planet Mu, Mordant Music, Punch Drunk, WNCL and Perc Trax, while also playing live around Europe. In recent times, Nick has preferred to remain a low-key presence, but Selvamancer are excited to have coaxed him back with his first vinyl release in 5 years! Dirtbokz is an 8 track mini-album that showcases the Ekoplekz sound of now. Recorded as always on four track cassette using hardware analogue synths and drum machines with minimal post-production, the tracks retain a raw immediacy and the dirty, dub-infused sound that he was always known for. For the Dirtbokz LP, Ekoplekz reaches back to the early acid, electro and primitive rave of his youth, all mixed in a hazy reverb-soaked echo chamber inspired by his love of '70s Jamaican dub reggae. 'Frampton Kotteral' takes a gentle detour into more melodic, sentimental territory and the set closes with the forlorn acid comedown of 'Phader'.

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix) Limitierte Summer Wine LP Edition

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

Noodzakelijk Kwaad heeft een nieuwe plaat.
‘Morsen Met Mensen’
Het kwartet bestaande uit Jef Mercelis, Teuk Henri, Frank Pay en Jan Ducheyne spelen nu al meerdan zes jaar samen. En dat is er aan te horen als ze op een podium staan. De gitaren van Teuk Henri klinken helemaal in evenwicht met de zoemende Korg van Jef Mercelis, die er dan nog eens zijn gouden stem bovenop gooit als het even past. Frank Pay zorgt dat alles strak en los tegelijk zit met drums en percussie en welgemikte achtergrondzang.
Jan Ducheyne kan als geen ander zijn teksten in de nu eens voortstormende, dan weer langzaam
kabbelende muziek van Noodzakelijk Kwaad leggen. Improvisatie is nooit ver weg eens dit viertal het podium bestijgt.
Wat niet wil zeggen dat ze geen songs schrijven. ‘De Wind’, ‘Morsen Met Mensen’, ‘Wilde Bloemen’, ‘Kabine’ het is maar een greep uit de vijftien nummers die op de dubbelplaat staan.
De plaat is opgenomen bij de wizzard Pascal Deweze in Studio Jezus in Hoboken.
Het hoesontwerp is van de handen van Jirka De Preter en Emma Ducheyne.
De plaat komt uit bij Rotkat Records.
Noodzakelijk Kwaad is een belevenis, een openbaring voor zij die hen nog nooit aan het werk zagen en een genot en immer blij weerzien voor al wie dit viertal al langer volgt.
Noodzakelijk Kwaad heeft er zin in! Tot in uw oren!

Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.”

On October 18th, Twisted Pine releases its joyous third LP, Love Your Mind. Dubbed “a band to watch” by NPR, the band’s first album in four years is the long-awaited follow-up to Right Now, which No Depression praised for its "sheer pop glory, funky all-day grooves, and spacecraft sonics.” The title represents the quartet landing after several years of touring, serious introspection, glorious bursts of creativity, and many after-hour festival jam sessions that had them pickin’ ‘til dawn. What started as a (semi-)traditional bluegrass band in the trenches of the storied Massachusetts Americana scene a decade ago has bloomed into an ensemble gleefully ready to race down any artistic detour. This is the sound of Twisted Pine now —experimental production, fearless songwriting featuring input from each member, finely-crafted collaborative arrangements, playing that is sometimes virtuosic, always visceral. The sound of a band that demands you Love Your Mind.

Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

Never say never! Because it's time for TURMOIL - a surprising landmark album comeback for RICO PUESTEL defining a musical and personal turning point with a completely new and re-invented artistry. About time!

4U opens the Pandora's Box of TURMOIL with inimitable meditative beauty, descending into the metaphorical and tonal SLICES OF LIFE that unleashes a complex chain of energy while WHERETO even overcomes this high voltage setup with a deadly infective loop and the only reminiscences of something to call Techno on this album in its fading conclusion.
Before HEART OF GOLD defines the probably most immersive peak on TURMOIL with its vast soundscape and mantra-like piano shuffle, QUESTIONS floats in Dubstep'ish ways to actually raise two questions to the listener while this train keeps on going.
FIVE SIGNS speeds up the pace on the album's second half, culminating in the mesmerizingly driven groove and words of HIGH HOPE and the powerful Upbeat drenched into ambient soundscapes on NEWTON.
Nearing the end of TURMOIL, DUMB delivers the longest vocal verses on this album and proceeds with the most pervasive and powerful layers of beats, violins and synth stabs.
Closing and re-starting all of it, EVERENDING grooves into infinity with its yoga-like theme and spreads some true love.

Without a doubt, TURMOIL happens to be the most accomplished work by RICO PUESTEL melting so many of his artistic worlds into one unique piece of art!

"Tre" is the new long-awaited 12-track album by The Dining Rooms out for Schema after two lps on the research label Milano2000, "Subterranean Modern" and "NumeroDeux" and a lot of appearances on the most important atmospheric-downtempo compilations. 12 tracks and 2 videos to be precise (Maria Arena is the brillant filmaker working with TDR). 12 elements redefining the borders of TDR music, drawing inspiration from Jazz, Africanism, Hip-Hop, House, Soul with true eclectism. "Tre" is a turning point in the history of TDR and represent a sort of change of perspectives.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

Housepainters is a dynamic post-punk and no-wave ensemble. The band's inspiration is a fusion of krautrock, wave-punk, and dub. Their debut LP is based on dystopian films like 1984 and Basic Instinct. Big tip for fans of Saada Bonaire, ESG & Liquid Liquid. Most essential 2024 Post-punk, disco-no-disco release.

"Pages' self-titled debut album, released in 1978, marked the beginning of a notable journey for the American rock band featuring Richard Page and Steve George, who later gained fame as members of the successful 1980s band Mr. Mister (with hits “Broken Wings” and “Kyrie”). This album introduced listeners to the smooth and sophisticated sounds that was dubbed as AOR back in the day, but nowadays is making a comeback called yacht rock or yacht soul.

The album Pages is a blend of pop, rock, and jazz influences, showcasing the duo's knack for crafting catchy melodies and intricate harmonies. Richard Page's distinct vocal style, combined with Steve George's keyboard wizardry, set a foundation for the lush and polished sound that would define their future work. Next to the further band members Peter Leinheiser, Jerry Manfredi and Russ Battelene, session musicians included Philip Bailey (Earth, Wind & Fire), Dave Grusin and Michael Brecker. Notable tracks include ""If I Saw You Again"" and ""Let It Go"".

The self-titled debut album by Pages is available as a limited edition of 1000 individually numbered copies on blue marbled vinyl and includes an insert with lyrics. The album is housed in a deluxe sleeve with linen laminate finish.

First Word Records are very proud to present a brand new album from Kaidi Tatham!

'An Insight To All Minds' is Kaidi's 3rd solo album under his own name, following several EPs and two albums for First Word; 2018's acclaimed 'It's A World Before You' and the re-press of his seminal 2008 sophomore album 'In Search Of Hope' last year.

For those that don't know, Kaidi Tatham is a legendary multi-instrumentalist. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, initially with the likes of Bugz In The Attic and The Herbaliser, and more recently with DJ Jazzy Jeff (through the PLAYlist projects), Andrew Ashong (on the acclaimed 'Sankofa Season' EP last year) and with longtime accomplice, Dego. This in addition to session work for artists such as Mulatu Astatke, Slum Village, Amy Winehouse, Soul II Soul and Leroy Burgess, along with First Word label mates such as Eric Lau, Children of Zeus and Darkhouse Family. Kaidi is also a revered DJ known for rocking parties globally, whilst his solo catalogue spans tons of EPs and releases for labels such as 2000 Black, Eglo and Theo Parrish's Sound Signature.

On 'An Insight To All Minds', Kaidi says it's "not about a destination, but a process. It's about how you drive, not where you're going. Nothing in this world can torment you as much as your own thoughts… We are all going through it. We can all feel what the next person is feeling, believe it or not. It's learning how to tap into it".

The album is comprised of an assortment of Kaidi's unique flavours - uptempo jazz-funk bruk, laced with rhodes, flutes, live bass and delicious percussion. Using that blueprint he moves effortlessly through latin and samba, half-step, deep afro house and a sprinkle of curveballs, all presented in Kaidi's inimitable way.

'Intergalactic Relations' brings with it some 110bpm synthed-out spacey electro-breaks, 'Could It Be' sets off sounding like a Morricone film score, whilst 'Rodney' is some serious heads-down business; stark and punchy off-kilter broken beat and vocal stabs. There are a few guests too - 'Chungo' sees the return of Uhmeer (who previously appeared on 'Cupid' on the album 'It's A World Before You'); here the young Philly MC deftly rides a 9/4 time signature beat. Meanwhile 'Stro Kyat' invites in another supreme talent, Stro Elliot (The Roots), who provides a suitably crisp & crunchy riddim to accompany Kaidi's key play over a mind-bending 5/4 time signature.

With this new album, Kaidi Tatham adds further to his already impressive catalogue, a body of work that falls within the cracks of jazz and dance music, exemplifying modern British black brilliance once again; uncompromising, innovative, groundbreaking, intricately sophisticated and deeply funky. His fanbase expands on every release and it's no surprise that that fanbase includes peers such as Madlib ("ahead of his time"), Gilles Peterson ("a key part of an entire movement"), K15 ("a limitless source of inspiration"), Alexander Nut ("a true virtuoso") and Kyle Hall.

Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.

One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.

A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.

Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.

Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.

Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.

Out of print for over 20 years!

Reissue! Ein exklusives Album zur damaligen (2019) Feier des 15-jährigen Bestehens des CMR-Labels, das von Chinese Man, Baja Frequencia und der Scratch Bandits Crew zusammengestellt wurde! Mit einer Mischung aus Scratch-Musik, Trip-Hop, Dub und tropischen Rhythmen zeigt The Groove Sessions Vol.5 die künstlerische Spontaneität und die stets sprudelnde Kreativität der Künstler des Labels. Im Februar 2019 verbrachten die drei Bands eine gemeinsame Woche in den Bergen. Die Idee war es, Stile und Inspirationen zu mischen, die Spontaneität der Produktionen stand im Fokus. In sechs Tagen entstanden 18 Demos. Sechs Monate später wurden schließlich 15 Songs für das Album fertiggestellt und veröffentlicht. Der Downbeat von Chinese Man vermischt sich mit den dub-tropischen Klängen des Baja Frequencia-Duos, welche von dem unglaublichen Hip Hop-Know-How der Scratch Bandits Crew ergänzt werden. A true banger! Klassisch schwarzes Doppel-Vinyl mit Downloadcode!