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ORANGE COLOURED EDITION

During the 1970s George Jackson made a series of sublime southern soul recordings at Sounds Of Memphis studios. This LP gathers together rare singles and tracks that were unreleased at the time to showcase this golden period in the soul singer-songwriter’s career.

Recorded using many of the players from the Hi house band, who were at the time being featured on the recordings of Al Green and Ann Peebles.

Four tracks are making their first appearance on vinyl, whilst the compilation features both sides of his rare 1975 Chess single ‘Macking On You’ b/w ‘Things Are Getting’ Better’ and his ER single ‘Talking About The Love I Have For You’, which regularly sells for over $1000 on auction.

Jackson had a long career that saw him write hit singles for artists such as Candi Staton, Clarence Carter, the Osmonds and Bob Seeger, whilst covers of his songs have been UK hits for both Yazz and Joss Stone. However, his success as a writer somewhat obscured his talent as a performer, something that our series of releases focused on him has sought to rectify.

Alinka makes an eagerly anticipated return to Crosstown Rebels with the outstanding Control Transmission, her last appearance on the label featuring in 2016 collaborating with Shaun J. Wright. This solo release demonstrates her versatile sound that is inspired by her experience in scenes across the world.

Control Transmission begins with robust 909 drums as the claps resound with force. The bass, a razor-sharp, distorted and filtered charge is introduced commanding attention, further electro inspired samples and effects are layered in this powerful track. Day Zero captures the spirit of the Mayan jungles, with synth that propels with energy, ebbing and flowing with mystical chords that give a nod to the famous festival spearheaded by Damian Lazarus.

Born in Kiev, Alinka has a unique power on the decks and in the studio, influenced by the city of Chicago, with toes tipped in Detroit techno and Europe’s key cities. Immigrating to Chicago with her family as a child she immersed herself in the scene, digging for records and becoming resident for Justin Long’s Dotbleep party at Smartbar. In 2012 an impromptu meeting with former Hercules and Love Affair vocalist Shaun J. Wright changed her life. The pair launched their Twirl parties and label whilst continuing to evolve their collaboration.

The result has been an impressive catalogue of material from, with music featured on Jackathon Jams, Crosstown Rebels, Leftroom, The Classic Music Company and of course Twirl. Now living in Berlin, Alinka has used this base to play at parties across Europe including the likes Panorama Bar and Circo Loco, whilst regularly returning to the US to play for promoters such as Ladyfag. 2020 will she Alinka’s evolution continue, with a packed schedule of releases and her newly launched label Fantasy Life.

Cascade Symmetry is the culmination of an intense and transformative year-long period. It is an ode to new beginnings and the disintegration of the past.

Recorded and mixed September - October 2017 in San Jose, CA; additional recordings and field recordings taken September 2017 in South Korea.

Gear used: Eurorack modular synthesizer (Mutable Instruments, Make Noise, Orthogonal Devices, Intellijel, TipTop, Ladik, Malekko Heavy Industry, Mannequins, Qu-Bit Electronix, Doepfer), Novation Peak, Korg Electribe 2, Elektron Analog Heat, Strymon El Capistan, Hosa Technology Cables

Initially released on tape and digital through the artist on November 6, 2017.

Alastair Galbraith is considered nothing less than a genius around these parts. A New Zealand underground legend active since the '80s, his solo works have seen release on Siltbreeze, MIE, Emperor Jones and Grapefruit Records while his own labels, Xpressway and Next Best Way have released the likes of The Dead C and Damo Suzuki. His list of collaborators reads like a who's who of freeform musicianship: Peter Jefferies, Bruce Russell, Robert Scott (The Clean; Flying Nun) and Maxine Funke to name but a few. Seconds Mark III is Galbraith's first solo album since Mass (2010) and is a collage of pensive, longing and almost forgotten pieces stitched in his inimitable style. A thrilling addition to A Colourful Storm's ever-expansive catalogue. 21-track LP

Scand resident Steve Allman brings together the fast-paced sounds of Detroit and London electro in his debut EP on EON Records.
A key part of London’s longest running electro night Scand for ten years, the south London producer has played alongside the genre’s most important figures The Advent, Detroit in Effect
and Andrea Parker included - delivering consistently high velocity all vinyl sets. Allman’s approach to the dancefloor comes out in its full majesty here on Brainwave. Driven with analogue bass from the Novation Bass Station 2 that’s central to his studio set up, the EP is an uptempo booty moving selection of tracks. Sonically the EP is an expression of Allman’s ear for fast-paced 90s era Detroit electro and the UK’s rave edged take on the sound calling upon freaky synth work, heavy bass patterns and eerie rave stabs to colour the release. What we hear on Brainwaves across the three original tracks is pacey, buoyant and sub-weighted - a record ready to be played loud when the systems are turned back on. Closest influence and mentor Sync 24 drops a bomb of a remix for the title track Brainwave, weaponising it a step further adding a deadly acid scrawl.

As a long-time admirer of his work, R&S/Apollo boss Renaat has signed up Italian craftsman Nuel for a stunning concept album that finds the artist becoming "my own imaginary band" after ten years of personal growth and exploration. Nuel has been revered in underground techno circles for many years. He is a meticulous sonic sculptor who has made some of the most meditative and hypnotic electronic grooves of the last decade on labels like Semantica, Kontra-Musik and Sublunar. He also put out cult classic and highly sought after album 'Trance Mutation', which found him playing all the sounds himself on a wide array of instruments. 'Fantasia' is physical, dance-able music but crafted from unfamiliar sound sources that make it as suited to a campfire gathering as an experimental club setting. It's expertly assembled and utterly unique.

Craigie Knowes continue their long-running War Child fundraiser series with a new 2x12" release featuring tracks from Eluize, DJ Python, Stellar OM Source, Innnershades, No Moon, The Burrell Connection and more. From ambient and downbeat through to techno and electro, the release spans the sounds that Craigie Knowes have embraced over the last 5 years. The fourth installment of the project also sees a completely new sleeve and center label design by Kyle Morrison. All profits donated to War Child UK, a charity helping children in areas of conflict around the world.

Laura Marling’s exquisite seventh album 'Song For Our Daughter' arrives almost without preamble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm. As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

Friends, it is time for a finish. Here's the seventh and last chapter of the festivities that we put together for our 50th catalogue number. Once again, the mighty graphics wizards Doppeldenk from Leipzig provided us with a delightfull artwork. And once again, you'll get a record that sports a kaleidoscope of sophisticated dance music from Uncanny Valley veterans and newcomers. This time with the emphasis on bright and positive timbres which can be associated with the colour yellow. Cuthead starts things with a bang and his PARTY CHORDS set the tone perfectly (including neck pain after nodding your head to the beat like there's no tomorrow). If chords could be president this would get a lot of votes. Massimiliano Pagliara shifts down a gear with the acoustic road trip SUNSET FUNK, a masterfully arranged track, made up for driving around on your bike, skateboard or whatever vehicle you are using to get from A to B. The slow and sexy IWESU YEWISU from the soul brothers of Duererstuben is a longtime favorite in the Uncanny Valley headquarters. We are super happy that this groover will finally see the light of day. Panthera Krause provides the subtle but euphoric THE NAKED NOW, a House music lesson that's bubbling under the surface. And finally, Uncanny Valley first-timer Daniela Da Luz closes the record with WHEN YOU GO ALL IN AND WAIT, a drum heavy but also embracing excursion into your own neural circuit

Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.

After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.

We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”

Decha’s Hielo Boca LP was released in early 2019 and quickly was embraced by many as an exceptional experi- mental yet very personal and soulful piece of art. Artist Viktoria Wehrmeister (half of renowned duo Toresch along- side fellow Düsseldorfian Tolouse Low Trax) is already working constantly on her sophomore album for Malka Tuti that will come some time in the near future. In the meantime, longtime fans of Viktoria, many friends of the label asked to participate in the remix project that fol- lowed Hielo Boca. On this record we will present 4 remixes that are as imag- intive, inspirational and clever as the original composition. Tapan, Eva Geist, Khidja & Philipp Otterbach took upon themselves to reconstruct Viktoria’s ideas in very surpris- ing, intriguing and “out of the box” ways.

Midnight Resistance ist das 4. Album von The Toxic Avenger. Und zweifellos das außergewöhnlichste, bei dem seine musikalische Handschrift am besten zur Geltung kommt. Das Album gleicht einer Symbiose aus unterschiedlichen Einflüssen und Elementen, von energiegeladenem Elektro bis zu Popavancen, vom klassischen Song bis packenden House der 90er Jahre, vom neoklassischen Piano Revisited bis zum aktuellen Synth-Pop. Ein Album, bei dem der Fokus klar und direkt auf Emotionen und Gefühlen ausgerichtet wird und die Technik bewusst einen Schritt zurück tritt. Keine Frage - es ist auch sicherlich das Genre durchbrechendste und dabei offenste aller seiner Alben, bestückt mit echten Pop-Singles, wie die berauschende "Lies" (feat. Look Mum No Computer), die nostalgische Ballade "Mandala" aus den 80er Jahren (feat. Ornette) oder der packende Popsong "Rent Boy" (feat. Jay-Jay Johanson). Ein besonderes Highlight des Albums ist die Zusammenarbeit mit Maxence Cyrin bei dem sehr ausdrucksstarken und emotionalen Titel "On My own". Die wohl größte Überraschung dieses Al- bums besteht darin, dass Toxic Avenger bei "Les Heures" das erst Mal selbst singt und der Platte eine ganz besondere Note schenkt. Zum Abschluss beglückt Toxic Avenger mit zwei besonderen Gäste. Diese runden die Platte mit der luftigen und hedonistischen Teilnahme von Simone bei "Falling Appart" und dem Spoken Word und immer ungewöhnlichen Flow von Diamond Deuklo auf dem treffend benannten "L'Avenir d'Avant" genussvoll ab. Über zwei Jahre beschäftigte sich Toxic Avenger intensiv mit modularen Synthesizern – aus seiner leidenschaftlichen Klangforschung ist nun ein neuer Sound entstanden, der die Seele der Synthesizer "lebendiger" und organischer erscheinen lässt. Hier ist ein beeindruckendes Werk eines "Klangchirurgen" entstanden, dem es gelingt Stimmen im Detail zu sezieren und ihnen eine magische Aura zu verleihen und dabei ebenso eine intensive Reise in die Tiefen von Melodie und Klangwelten unternimmt, ohne den Fokus auf die Songs selbst zu verlieren. Dieses Album wird zu einer Zeit besonderer Aufmerksamkeit und Sichtbarkeit für The Toxic Avenger veröffentlicht, der gerade die Musik für Hugo Boss Parfum kreiert hat: (Europa/LateinamerikaKampagne für TV/Kino und Web for the World, für zwei Jahre sowie die Musik für die nächsten Web-Werbung von Armani und Yves Saint Laurent unterschrieben hat

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for this release is to examine how his songs have evolved over time, with the majority of the additional content throughout these releases focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Originally released in December 1989, '...But Seriously' features many of Collins' biggest hits and was one of its era's biggest selling albums. In the UK, it spent a total of 15 weeks at #1 during an extended run of almost a year in the Top 10 en route to becoming the biggest selling album of 1990. The album campaign culminated with his fourth and fifth BRIT Awards for British Single ('Another Day in Paradise') and British Male.

We were very surprised at Versatile when we received this file
from flocofloco And we still have very little info on the track that was
there. “On m’a dit…” by Floco Floco is a lo-fi afro-disco stomper hailing straight from the new ghettos created by confinement. Something had to give and we are glad that Floco Floco, whoever he is, has chosen us to ease his lockdown mind: “I’ve been told to stay at home, on WhatsApp all day long, working in the studio, reading books I haven’t read, I hope it won’t be too long, I don’t know if I can hold, smoking weed day & night, like never I have been before”.
Not a message, just a statement. The answer on the track was so good that we decided to come with more versions… We asked our friend Bufiman aka Jan Schulte to put his magic and he came with two
versions. One stellar arpeggio, with no beats but a serious drive as well as an instrumental Disco version. Gilb’r slowed down the whole affair and turned it into a cosmic nonsense vocal reprise, with a different bassline, chords and arrangement. A great summer pack!

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Across two 12" slabs come long buried vignettes, motorik experiments and sketches from deep within the SVN archives. A continuation from his previous EP of the same name (c. 2017), this latest collection's smoked-out ambience, skeletal stuttering rhythmic workouts and smudged stoned melodies are some of the myriad parts that make up this most mysterious 'Mechine'.

Recorded at the now infamous Neues Deutschland Studio in Berlin, this collection of tracks continues the unique sonic explorations that SVN is known for and has deftly showcased through various respected electronic outlets including Apollo, Acido, Sex Tags Mania and more. An essential collection of DIY and contemporary German electronics.

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Saturday Night is the debut LP by old friends and collaborators Alex Twomey, Matthew Sullivan, and Sean McCann. Recorded over numerous evenings at the artists’ homes, and completed just before the birth of Matthew’s daughter, Flora. The album became an excuse to spend time with one another as well as perform. As the trio ordered take-out, drank scotch, smoked on patios, laughing off the weight of reality–they stumbled into moments of musical focus.

This album has a prism of fidelities. High and low resolutions press together as the environment blows through the instruments. The woozy, side-long titular track of hesitant cello and pianos opens the record. Quiet music with blemishes and inebriated pauses, breathing an alleviated air. Phrases with failing propellers, teetering between melodic and apathetic. The true speed of their Saturday nights.

Side two opens with “London On My Mind.” Reflecting the other pole, manic cassette treatments duel over Twomey’s placid keyboard, ultimately breaking into a little joke on the piano. “Collection” features guitar by Sullivan, remembered for his thick fog of work under the alias Earn. With Sullivan’s return to the instrument, he is joined by Twomey on upright piano and McCann processing the room in real-time. The brief final work, “Bird,” recalls the style of the group's private press cassettes, The Bird and Charlotte’s Office: poorly-played pleasant-hearted music.

Each edition of the record includes a 20-page photo booklet of stills documenting the recording process.

the title track of nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

on the opposite,13 minutes long trip “flags of himalaya” opens with restful percussions that unhurriedly start to dance with soft string, piano and horn melodies.

Mono Han are brothers Alessandro and Davide, who collectively have a deep and long understanding of electronic music. Davide is a co-founder of N.O.I.A, one of Italy’s first electronic live acts to perform and record with drum machines and synths as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto-house hit “Dirty Talk”. Alessandro, following in his brother’s footsteps was inevitable and he too became hooked on the incredible new sound palette emanating from the early electronic machines.

Since then they have released under an array of aliases, have clocked up numerous club hits and this project brings them back to their 80’s roots.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Martin Haidinger has released music on Worm Interface and Toytronic Records as Gimmik and is one half of Abfahrt Hinwil.

Released initially on hand-numbered cassette on Martin's own Hidden Reality micro imprint in October 2019, Entre Les Chambres gets the remaster treatment by n5MD for release on vinyl in early summer of 2020.
Entre Les Chambres is a highly personal work for Haidinger. And is his first new publicly released Gimmik since he appeared on our MD8 compilation back in 2004. We are proud to bring you the album on limited edition silver with black and white splatter vinyl on June 12th, 2020.
Those familiar with Martin Haidinger's work as Gimmik might be surprised by an entirely beatless return from Haidinger. However, those that have followed his music know that his synth work is undoubtedly his signature, and Entre Les Chambres' two long-form works bring his trademark to the fore, free from the confines of the grid.

New release by one of Berlin’s most unique and long standing producers. Patrick Stottrop’s activities are at the heart and foundation of Berlin’s Techno sound, active since 1996 and founder of Zhark Recordings, he’s been pushing and challenging the definition of dance music since it’s inception.
On this release we find the title track “Legeia” as well as the tracks “Die Erwartung” and “Richmond”, taken from The Garden of Time LP recoding session from 2019. These 3 tracks set the prevailing mood for 2 subsequent cuts, “Horus” and “Sorcerer”. While Richmond follows a more andante direction “Legeia” presents a unique combination of drones engulfed in a wild & hectic Technoid percussive Inferno. “Die Erwartung” on the other hand might resemble in its overall mood the Rheingold Prelude (in a higher register) with its drone like strings layer build up. wHILE “Horus” and “Sorcere” are recent tracks form KAREEMs current live set and were recently arranged to fit into the EP format. Both tracks build on static percussive hostility and climax towards their middle parts to an overall acoustic orgy of reverberating string strikes and high-pitched drone oscillations. An over all grand addition to his continuously growing and ecstatic catalog.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

Circoloco resident Luca Cazal teams up with Italian talent Andrea Fiorito as the pair deliver their ‘What Is Music’ EP on Infuse this June, backed by a remix from Mariano Mateljan.

An Ibiza mainstay, with regular appearances at DC-10 for Paradise and his long-standing global Circoloco residency, See Double boss Luca Cazal has established himself as a quality and consistent force within the minimal house scene and beyond. An avid digger with an innate ability within the studio, Cazal’s career has also welcomed sets at internationally renowned institutions including fabric and Club der Vissionare, with late June now welcoming a debut appearance on Infuse alongside fellow Italian Andrea Fiorito. An artist driven by idealism, with a sound palette that takes in influences and productions from experimental techno through to lighter more delicate and orchestral sonics, Bari-based Fiorito has himself served up material via the likes of Housewax, Broquade, Get Physical and Cynosure to date, and here we see the two talents combine for the very first time to offer up ‘What Is Music’, accompanied by Infuse talent Mariano Mateljan on remix duties.

A-side opener ‘Tornado Girl’ is a groove-fulled rolling production armed with slinking hats, evolving basslines and warping lead synths, whilst on the flip, title cut ‘What Is Music’ delves deeper into darker, more paired back afterhours aesthetics with slinking organic percussion and sci-fi electronics throughout. To close, Croatian favourite Mateljan’s lively interpretation welcomes sharp kicks, distorted vocal hooks and haunting melodies, punctuating the package in impressive fashion.

Multidisciplinary NYC artist Gavilán Rayna Russom launches her own label Voluminous Arts, dedicated to highlight electronic and experimental artists whose work challenges fixed categories of genre and categorization. Her aim is to create a platform for multidisciplinary work and events. The inaugural release being her second solo album as Gavilán Rayna Russom 'Secret Passage', following up last years 'The Envoy, an homage to the East Side Rail Tunnel in Providence, Rhode Island, and the friendships she made there.

In Rayna’s words:
“I grew up in Providence, Rhode Island in the 1970’s and 80’s. The booming jewelry and textile industries of the previous decades had pulled out by that point. The Italian mob ran most details of the day to day operations of the city. As kids coming up in that environment, before the internet, me and the people I hung out with didn’t know anything else and we worked with what we had to entertain ourselves. We found places that had been forgotten by market interests and made them spaces of creative community building. One of the most special of these places was the East Side Rail Tunnel. Running for almost exactly one mile beneath the city’s streets, the tunnel and nearby Crook Point Bridge were unsupervised autonomous zones where I tasted the possibilities of a world without surveilance. The tunnel was particularly important in my creative development because not only was it a marginal zone apart from monetized spaces of creative consumption, but it also had specific experiential properties. It had a bend in it which meant that when you got to the middle of it you were in complete darkness, and I learned quickly that when you spend enough time in complete darkness you start to hallucinate, which I liked. The acoustics were also remarkable; long natural delays and harmonic-reinforcing reverberances. Making any sound in there added layers of acoustic effects which made noises physical and fluid and, combined with the complete darkness, absolutely dissolved boundaries between internal and external experience. I started hanging out there when I was 14 and continued to return there regularly until development, gentrification and policing eventually made it inaccessible. By the mid ‘90s it was sealed off with progressively more impenetrable barriers. Nowadays it looks very different. This music is about some of the significant experiences I had in this beautifully neglected place and the people I had them with.”

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

Two guitar legends - Eric Clapton and B.B. King - first performed together in NYC in 1967. Over 30 years later, in 1999, the two longtime friends joined forces to create a collection of all new studio recordings of blues classics and contemporary songs. The resulting album Riding with the King would be released in June 2000 and go onto sell over 4 million copies globally and win a Grammy Award for Best Traditional Blues Album.

To celebrate the 20th anniversary of this classic album, two additional previously unreleased tracks have been added: The blues standard “Rollin’ and Tumblin’” and a cover of Willie Dixon’s “Let Me Love You Baby.” Both tracks were recorded during the original sessions and were produced and mixed especially for this release by Simon Climie, who produced the original album with Clapton. The original tapes have been remastered by Bob Ludwig for release on 26th June via Rhino Records.

The 14-track collection will be available on 180-gram black double vinyl package and was mastered (vinyl) by Chris Bellman at Bernie Grundman Mastering in Los Angeles.

The album features four B.B. King originals, plus a selection of covers from writers as diverse as Isaac Hayes & David Porter (“Hold On I’m Coming”), Johnny Mercer & Harold Arlen (“Come Rain Or Come Shine”) and William Broonzy & Charles Seger (“Key To The Highway”). John Hiatt wrote the album’s title track.

yellow marbled vinyl / vinyl only

After a long wait we are happy to finally share the next release on Sleepless Musik and welcome Canarian artist Moises to our family!

A1. Circular
The title track is a dancefloor bomb, bursting with groove. You'll find it aptly placed on the A side, along with a remix from Sakro. The deep, rolling bassline of Circular takes similar form to previous Moises releases, a fast pace dance between low and high notes. Eery breakdowns signalled by spiralling synths accentuate the mysterious melody that dominates the track, before rave like chords creep to the forefront. Then with a cheeky hi-hat flick, the bass is back. The energy emanating from this one is enough to have a crowd going wild at peak-time.

A2. Circular (Sakro Remix)
The remix is a little more subtle, yet equally as suited for late into the night. The percussion overtakes this one with a deeper bassline. It becomes clouded with minimalistic growling and an echoing vocal, injecting the dreary trip we've got quite used to hearing in Sakro's productions.

B1. Homecoming
Flip the record over and the four-tracker becomes complete with two more of Moises' own productions, both of which retain that signature groove. Homecoming pulsates repetitive rhythms laced with chattering patter and choppy voice. A sweet layer to house the jabbing synth that follows for another dance worthy beat.

B2. Inside Out
Inside Out completes the set, representing a different approach. This feel good finale ditches the darkness and is instead full of dreamy high notes and percussive swing, making it the uplifting one of the bunch. It's fun, playful and full of life, perfect for celebrating those moments at the afters when the sun is up and so are the people.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

After a way long and overdue pause with music the Sugarloaf Gangsters duo is back again where they belong...on GAMM!

Mark & Cliffy aka Sugarloaf Gangsters have a long history with Brazilian and world inspired dance music and have that magic touch when it comes to spotting rare tunes that needs their signature rework style.Â

The A side 'Temarasa' literally explodes from the first breakbeat with a big Brazilian funk-jazz monster, peak time music.
The flip is all about the drum! 'Chor Gway' is an African style percussive jam that's got everything from crazy chants, sound efx and DJ friendly tempo changes.Â

Another G.A.M.M sureshot !!

The Bees are a textbook case of the chew and spit cycle that was the late 80’s South African music industry. Although their unknown story is likely unique, it is just as likely that it is no different to that of many other young artists who dreamed of getting their music heard at the time.

By 1988, the independent record label was no longer as uncommon as it had been at the beginning of the decade. As the 80s went on, more seasoned A&R reps and Producers that had gained experience and connections from their work under major labels would be trying to cash in on a market they helped create. Without the need of big rooms or expensive recording equipment, the digital advancements allowed many Producers to open or work in smaller studios and promote unknown artists under their own imprints. They would then have their catalogs marketed and distributed by the same major labels they had been working for just years prior. This would open up the possibility of a new era of stars as potential talent no longer had to be pitched to major labels in hopes of them taking a chance on a new signee over their already established artists. With the market growing and a struggle to keep up with the demand for new sounds this agreement would allow the major labels to put new emerging artists or groups on their catalog with little investment and high reward if it happened to be a hit.

ON Records was just one of the independent players at the time. Ronnie Robot had just signed the unlikely trio The Bees in hopes of adding a hit group to his label roster that consisted of solo acts. Despite the debut’s fresh house inspired sound, it failed to catch on was outsold by the bubblegum disco the label was known for. Over the years unsold back stock and promos would build up with the distributor. Luckily this allowed sealed copies from the label’s catalog to survive into the 90s when the distributor’s stock was unloaded and picked up by legendary Johannesburg jazz shop Kohinoor. Here sealed copies of the Bees first attempt sat under appreciated for over 20 years before becoming a hot title after they started circulating online and became club staples. This is how the first album of an unknown group with no success was able to become a collectors item and earn a reissue over 25 years later.

With their first record behind them The Bees were ready move forward and get back into the studio. A suggestion from producers had the trio change camps and go work with the newly formed Creative Sound Recordings, the label that promised “Music for the Future” and ended up being an essential studio in the early years of Kwaito. They would work with producer Chris Ghelakis and guitarist George Vardas, while a young Marvin Moses sat behind the desk. Musically the sophomore album was as good as a follow up as you could get. Building on the first album, Mashonisa delivers catchy melodies backed by heavy drum programming that would score points with any Pantsula. The Black Box inspired “ Never Give Up” was one of two tracks chosen to be pressed as the promo for the album, hoping to trick listeners with their catchy version of the hit( A year later the label would release their first volume of Black Box covers sang by neo soul diva BB, it would be a great seller). The label printed up an unknown amount of these in a last attempt to push the release in Shabeens and on Radio. The cheaper route of flooding the market with promo copies would only pay off 25 years later when unplayed copies started being rediscovered and had survived the years in a quantity that original run of the full album could not. Once again it was clear that with no mainstream appeal, the quality of the music on its own was not enough to garner any success at the time. The album flopped worse than their first and failed to make it past it’s initial run, making it one of the harder titles to get from the CSR catalog.

Mashonisa would be the last attempt from the Bees. They would disappear from the scene as quickly as they appeared. Of the three members it is only known that lead Singer Solomon Phiri continued in music fronting a wave dance group before he mysteriously vanished in 1993, never to be heard from again. Through a combination of luck and circumstance the group, which is unknown in South Africa to even the most plugged in musicians, producers and radio hosts of the time, managed to finally get some of the recognition they deserved 30 years later. Unfortunately this small blip of fame would happen with none of the band members present to give their side of the story, or even aware of how their two albums became popular enough to be printed on different continents in a new millennia. The Bees suffered the same fate as countless other artists of the time, who thanks to emerging independent labels and willing producers were given an opportunity to have a short career, only to be replaced by the meat grinder of the music industry when they failed to produce a hit.

After many hints and teases MANIC STREET PREACHERS have confirmed the re-issue of a deluxe edition of their 1993 second album ‘GOLD AGAINST THE SOUL’ on 12th June 2020 for Columbia/Sony.   Available as a 120 page A4 book featuring unseen images from the bands’ long time photographic collaborator Mitch Ikeda, many personally annotated by Nicky Wire and original typed and handwritten lyrics from the bands own archive.  It will contain two cd’s featuring the remastered album, previously unreleased demos, b-sides from the era, remixes and a live recording of The Clash song ‘What’s My Name’.  There will also be a 180g vinyl version of the original album with download codes to the extra tracks on CD1 and a digital version featuring all the songs. 

Nicky Wire said of the release “We moved our studio a few years ago and I unearthed a lot of demos and pictures from the ‘Gold Against The Soul’ era and thought it would be a shame not to let them see the light of day.  We haven’t always been the most complementary about this album in the past, but with hindsight it was a strange and curious record with many fan’s favourites on it.  James always gets a huge response when he teases the riff to ‘Sleepflower’ live.” 

‘Gold Against The Soul’ entered the Top 10 on release just over a year after their debut album ‘Generation Terrorists’ and saw the band shift musically to a classic rock sound.  Lead single ‘From Despair To Where’ was followed by ‘La Tristesse Durera (Scream To A Sigh)’, ‘Roses In The Hospital’ and ‘Life Becoming A Landslide’.  Produced by Dave Eringa who had been working in various guises with the band and continues to do so to this day, the album was recorded over six weeks at Outside/Hookend Studios.

Fifth studio album featuring Malcolm Catto, D'Alma, Idd Aziz and Modou Touré. Includes the singles Sua Alma, In The End and Afande. His most accomplished album to date Will Dorey aka Skinshape moved out of his comfort zone to create a new sound while retaining his trademark feel. While Skinshape has often been influenced by African music ‘Umoja’ directly incorporates styles and rhythms from the continent. Drawing on London’s vast talent pool from across the globe collaborators bring the essence of Senegal, Portugal, Ghana and Kenya via Norway no name but a few. The initial plan was to travel to various African nations to record ‘Umoja’. This proved to be an unnecessary step because Skinshape's hometown of London ended up bearing many fruits. It was a challenging project for Dorey taking a year and a half of dedicated work to complete with many ideas left unfinished along the way. The album has a very global feel which was enhanced at the end of the process by a collaboration with Japanese painter Ken-ichi Omura. Fans of Skinshape’s distinctive voice will not be disappointed as he features on ‘In The End’ and ‘Sun’. Long-time friend and collaborator Jon Moody (from the band Franc Moody) wrote the album’s horn parts.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

Longpigs were the alternative rock band who came to prominence in the 1990s Britpop scene. Fronted by Crispin Hunt, the group also featured guitarist Richard Hawley, Simon Stafford on bass and drummer Dee Boyle. Originally released in 1996 on U2’s Mother label, ‘The Sun Is Often Out’ featured four UK top 40 singles including ‘On And On’ and ‘She Said’. Demon Records is proud to present the first ever vinyl reissue of this cult classic, pressed on 180g heavyweight blue vinyl.

Lascelle 'Lascelles' Gordon - the driving force behind Vibration Black Finger – astonishes us yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form.

Having earned his chops as founding member of the Brand New Heavies, Campag Velocet and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future.

''Can You See What I'm Trying to Say' is a quote from Marion Brown, the great alto saxophonist' explains Gordon. 'The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen & Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on Law of the Universe) were recorded 25 years ago. 'Only in a Dream' and 'Empty Streets' are the only songs that were recorded live in the studio.'

'I was blown away by the New Life Trio 'Empty Streets' (from 1978) and was fascinated by the vocals' continues Lascelles. 'I always thought it would be great to cover this tune'. Such is the power of this song, it's used to open the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. While not a concept album as such, Lascelles has nonetheless conceived and presented Can You See What I'm Trying to Say to be heard as a complete listening experience, with each track blending into the next, resulting in a seamless expression of music.

Following 'Empty Streets', some instrumental interludes segue into a dimensional drift of beats, space synths, horns and electronics; there's a vocal reprise of 'Acting For Liberation', sung with gusto by Maggie Nichols, and then there's the album's momentous finale, 'Only In A Dream', which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world.

In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital and contemporary as anything he's done before, covering an incredible amount of musical ground in the process.