quête:j robinson

Rock 'n Roll With The Modern Lovers is the second album released by The Modern Lovers.

The band was formed in 1970 by singer, songwriter, and guitarist Jonathan Richman, with Jerry Harrison (keyboards - later went on to join Talking Heads), Ernie Brooks (bass), and David Robinson (drums). Richman's friend John Felice joined them occasionally. Their sound almost totally focuses on the sound from the Fifties. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. The albums features the popular tracks "Ice Cream Man", "Roller Coaster By The Sea", and "Egyptian Reggae". The latter was a cover version of Earl Zero "None Shall Escape The Judgement" and became a UK Top 5 hit.

Rock 'n Roll With The Modern Lovers is available as a limited edition of 750 individually numbered copies on silver vinyl.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Neu-Auflage auif schwarzem Vinyl im Gatefold

Die schwedischen High-Energy-Rocker The Hellacopters haben kürzlich ihr 30-jähriges Jubiläum gefeiert und nach der Veröffentlichung ihres neuen, vielgelobten Albums »Overdriver« am 31. Januar 2025, das zum zweiten Mal in der Bandgeschichte Platz 1 der schwedischen Charts erreichte 1 der schwedischen Charts erreichte – ist es nun an der Zeit, ihrer treuen Fangemeinde etwas wirklich Nostalgisches zu bieten.

»Cream Of The Crap! Collected Non-Album Works • Volume 3« ist der lang erwartete Nachfolger einer Reihe von Raritäten-Sammlungen, die 2002 begann und Material aus einer Vielzahl von Singles, EPs und Compilations vereint. Die 24 Titel dieses Sets wurden ursprünglich zwischen 1995 und 2004 veröffentlicht, die meisten davon nur auf Vinyl, und umfassen Originale wie »Disappointment Blues«, »Freeway To Hell«, »Doggone Your Bad-Luck Soul« und »Long Gone Losers« sowie Coverversionen von Songs von Motörhead, Wilson Pickett, Mc5, Smokey Robinson, Alice Cooper, The Ramones, The Nomads, Adam West – dessen Sänger Jake Starr die Liner Notes für diese Veröffentlichung verfasst hat – und vielen, vielen anderen.

Vier Jahre nach ihrem gefeierten Debüt ,International Love Affair" kehrt Tigerbalm (Rose Robinson) mit dem aufregend kaleidoskopischen Album ,Bubblegum Discos" zu Ubiquity Records zurück. Als mutige Weiterentwicklung ihres global geprägten Nu-Disco-Sounds spiegelt das Album ein neu gewonnenes Selbstbewusstsein wider sowie den Wunsch, mit handverlesenen Musikern und Sängern aus aller Welt zusammenzuarbeiten. In lebhaften Klangfarben gehalten, präsentiert ,Bubblegum Discos" Tigerbalms zwei große musikalische Leidenschaften: die brasilianische Musikkultur und Vintage-Dancefloor-Hits vom afrikanischen Kontinent, angereichert mit Anspielungen auf Italo-Disco, Proto-House und Soca. Die erste Hälfte des Albums ist stark von südamerikanischen Einflüssen geprägt. ,Nayar", entstanden in Zusammenarbeit mit Giorgio Lopez aus Neapel, macht den Anfang mit leicht vom Reggaeton inspiriertem Nu-Disco, gefolgt vom brasilianischen Disco-Rausch von ,Diga Me" und dem luftigen Samba-Disco von ,Vera En Paraty". Robinson liefert ihren allerersten Leadgesang auf dem teilweise improvisierten Neo-Boogie-Track ,Coco Makoko". Das Album wendet sich dann Afrika zu, mit herausragenden Beiträgen von Andre Espeut, der in Montreal lebenden haitianischen Sängerin Waahli auf dem hornlastigen ,Do Da Soca" und dem Afrobeats-Sänger Idd Aziz auf dem körperbetonten ,Afro-Disco". Der Abschluss ,Conga" rundet das Ganze mit schweren, afrozentrischen Disco-Rhythmen und tiefem Dub-Bass ab. Actiongeladen und makellos produziert: ,Bubblegum Discos" ist der Sound einer Künstlerin, die ihr frühes Versprechen mehr als nur einhält.

Originally produced by Visnadi with vocals by Janice Robinson,

this 12-inch includes the re-edited "original club mix,"

and for the first time on vinyl, remixes by Paul Morrell and Michael André & SMB.

Over 13 million streams on Sound Cloud,

over 10 million views on YouTube,

over 50 million plays on TikTok in the last few months.

2026 Repress

A further exercise in musical curation, Child Of Nature is our latest sonic confluence of self-released tracks from the loners, hippies and outsiders of the 70s and early 80s. A collection of privately pressed music, able to breathe and be created free from the constraints of heavy handed commercialism, yielding a pure vision of artistic expression. Child Of Nature features ten songs of brooding soft rock and psychedelic folk steeped in melancholia. Some ache for better times or past lovers, while others seek spiritual fulfilment or social progress.
A compilation to evoke the raw and unobstructed, to summon the occult, to fundamentally conjure a vivid portrait of our untamed natural environment. Recorded on the north coast of California, Luellen Reese’s ethereal “Silvery Waterfalls” drifts and swirls with electric guitar as her unearthly vocals transcend across a seven minute opus, fit for the golden age of labels like 4AD or Dedicated. “The flowers are dancing just for you …”, Reggie Russell croons over glistening Key Of Creek’s title track “Child Of Nature”, evoking a utopian world of natural harmony free from the present day realities of industrial decay.
Tap into your inner primal being, to embrace wholeheartedly, with frivolity and without reserve, your own child of nature.

t 5To the End (La Comedie) feat. Françoise Hardy




















t 5To the End (La Comedie) feat. Françoise Hardy




















t 5To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 To the End (La Comedie) [feat. Françoise Hardy]




















[t] c5 | To the End (La Comedie) [feat Françoise Hardy]

Sedan is an obscure Soul group from Cincinnati, Ohio that was formed in the 80's.They released only one record, and little info is known about them.Craig E. Robinson was a one of the members (he later went on to form Dayton and became a producer) The record celebrates it's 40 year anniversary and features the singles “Snake Dancin’ & “You Ain’t Got Nothin’ To Do”. This hidden gem is widely seen among disco boogie electro funk fans as a rough diamond. Sedan is now available as a limited numbered edition of 500 copies on red coloured vinyl.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

The story of Change goes back to the 1980 and our introduction to Luther Vandross on their hits “Searching” and “The Glow Of Love”. Next there was the amazing James Robinson with them on “The Very Best In You” and “Miracles” before they joined forces with writers/producers Jimmy Jam & Terry Lewis for “Change Of Heart”, “You Are My Melody” and so many more. You know this already! But here in 2019 Expansion are thrilled to bring you two tracks from their new album with extraordinary remixes by Joey Negro and Opolopo. What could go wrong? Both tracks are astonishing, brilliant on the dance floor and presented here on vinyl exclusively for the first time.

Fresh off the success of her sold-out self-titled debut ERIN BUKU returns with a collaborative EP with legendary producer DJ SPINNA. Weaving SPINNA's cosmic production with ERIN's rich, honeyed vocals. Feat. collabs from CHALI 2NA, STEVE SPACEK, and more. Full pic sleeve.

Detroit is where it’s at for this 8th release in the WPH U.S. Series. If we may say so we are talking Detroit royalty here, with three tracks unearthed from the 313 vaults dating back to a studio session with Moods & Grooves main man Mike Grant and the one and only Trackmaster Lou aka Lou Robinson of Scan 7 fame.

Pure, raw and dusty Detroit house grooves spread out over the three tracks ‘Music Is’, ‘Manifest’ and ‘Remember’ with a killer Reggie Dokes remix of the latter thrown in for more deepness for your buck.

It does not get more authentic than this.

"Later Than You Think" erscheint bei seinem neuen Label YOUNG und beschäftigt sich mit Themen wie Trauer, Gerechtigkeit, Wiedergeburt, Transformation und spirituellem Kampf. Es ist ein Werk von Bekenntnis und Konfrontation, für das sich Affekt, Intellekt und Geist auf der Suche nach dem Schönen, der Wahrheit und dem Realen zusammenschließen. Entstanden ist das Album in den Ozarks von Missouri. Die 16 Tracks vereinen Elemente und Gegensätze wie Üppigkeit und rohe Reduziertheit, das Heilige und das Profane, minimalistische Disziplin und maximale Schwelgerei, Kontrapunkt und simple Popharmonien. Im Kern unterstreicht das Album aber vor allem Maus" Hingabe an radikale Aufrichtigkeit und emotionale Wahrhaftigkeit in einem Zeitalter der Entfremdung - angetrieben von Konfrontation, Glauben und der tiefen Überzeugung, dass Sinn und Bedeutung noch immer etwas meinen. Maus, der einen Abschluss in Experimental Music und einen Doktortitel in Politikwissenschaft hat, wurde für die Art und Weise, auf die er akademische Sorgfalt und Lo-Fi Synthpop-Ästhetik verbindet, mal als "philosopher pop star" mal als "analog futurist" bezeichnet. Sein Wirken zieht sich dabei quer durch die Popkultur - von der Grime-Ikone Skepta, der seinen Track "I"m Only Human" sampelte bis zum Gen-Z-Rapper nettspend, von Filmemacher Josh Safdie ("Uncut Gems") bis zum Fotografen Wolfgang Tillmans. Sein Track "Cop Killer" ist im 2025er Film "Friendship" mit Tim Robinson und Paul Rudd enthalten. Mit exzessiven Liveshows und seinen bislang erschienenen Alben, auf denen Ironie, Trauer, Freude und Absurdität stets dicht beieinander liegen, hat Maus einen einzigartigen Weg beschritten und sich eine ergebene Fanbase erspielt.

We are proud to present Dawg On Wax Vol.2, our 100th release-a milestone celebration of our journey through innovative sounds. This vibrant compilation features an eclectic blend of Jackin House, Jazz House and Hip House styles. Limited to only 200 copies, this exclusive 12" LP is pressed on stunning yellow flame-colored vinyl, making it a collectible must-have for all the real House heads.
Showcasing an impressive lineup of talented artists-including FederFunk & Raffaele Ciavolino, Ralph C, Darren Marshall, Luccio B, Makson (PL), and Steve Robinson (UK)-the compilation delivers over 30 minutes of energetic grooves and soulful rhythms that take listeners on a rich sonic journey.
Celebrate our milestone with this limited edition vinyl, crafted to bring you the best in underground house music. Don't miss your chance to own this special release!

Five sisters Jacqueline, Lyn, Pat, Rae and Gennie Jackson were from Compton, California. “I Believe In Miracles” was written and originally recorded by Mark Capanni. The musical tracks were the work of the late Gene Page (string arranger for Barry White). The vocals were produced by Pete Moore of the famous Smokey Robinson & The Miracles along with Bobby Taylor, who also had a group called Bobby Taylor & The Vancouvers. “When I Believe In Miracles was first released in 1973 the sisters were nominated for best new vocal group for the Black Image Awards and best new female artist by Record World Magazine in 1974-1975 which was announced on Soul Train an aired Feb. 22, 1975. However the song did not take off until the UK ‘rare groove’ scene of the 80s, after which an extended version was created which appears for the first here time on 7”

Hitting release number three, Slush Records remaster and reissue Spacer IV aka James Zeiter’s sought-after 1997 EP on Pleasure Records. The man behind a slew of lauded records under a variety of different aliases, his sound is one that is cherished for orbiting the spheres of progressive trance and atmospheric dub techno. This four-track EP, however, saw James venture into unchartered territory, exploring a more melodic, house-tinted spectrum, before flipping back into the progressive techno-trance underbelly.

Having started life in 1995, Spacer IV had already gone from the leagues of limited white labels, to being the name stamped on one of Pleasure’s biggest-selling records by the time this EP came out. With only 195 white labels of his first record ARC 1/ARC 2 pressed, a copy was passed to Pete Robinson at Robs Records. ‘ARC 2’ was plucked from that release, supplemented with a new cut ‘ARC 3’ and given a proper pressing on Robs Records offshoot label Pleasure to notable success.

Fast forward to 1997 and James chose to depart the trance-infused techno sound of those first releases. Absorbing elements by osmosis, this EP sees James dipping his toes into fresh waters. Using what limited hardware he had available, including an Akai S950 sampler, Ensoniq ESQ-1 and Novation Bass Station 1, James laid down four distinctive and versatile club cuts.

‘Sirocco’ opens the EP, a tingling hit of endorphins that only the most timeless of tracks can elicit. Echoing pads feed acid murmurings, that sit atop dusty breakbeats and rattling sub-bass. An aural exploration, that is equal parts ethereal and empowering, taking cues from breaks, ambient, chill out and house. It’s one of those rare tracks that has the power to float you away or fuel your buzz, giving a healthy tug on the heartstrings in the process.

‘Mono’ follows, merging heads-down dancefloors with the embrace of warmer climates. It’s deep and Detroit-infused yet bolstered by a dream house bassline straight out of the Italian riviera. A dose of eyes-closed euphoria that hits just right.

The flipside sees James in more familiar territory with ‘Jetson’ and ‘Dust’. The former is a hit of space-age progressive house. Trippy, hypnotising, driving goodness, showcasing James’ ability to lock your body into a groove, yet send your mind to another world. The latter rounds out the EP, serving up an acid-swirling club stomper, forever building in intensity before dropping you into the vacuum of deep space.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. Mystica Tribe is the musical alias of Tokyo-based dub/techno producer Taka (Takafumi) Noda. He collaborated with Vienna's own Vegetable Orchestra on 2020's "Transplants (Mystica Tribe Version)". After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, vibraphone, marimba, djembe, contra-alto clarinet, melodica, Farfisa - all bound together by organic live-drums and dub effects.

Liner notes by Steve Barker

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.

Throughout their lifetime and a handful of releases, the trio have carefully fostered and perfected a style of music that is technical and beautiful but doesn’t shy away from any avant-garde, noisy, or punishing moments.
While you’re able to discern sounds brought from noise rock of the 80s and 90s, post-hardcore of the 90s and early aughts, as well as multiple waves of emo and screamo, Abandoncy’s affinity for abstract structure, strange time, and dramatic pause gives them a style all their own.
At its end it is breathtaking, addictive, and harrowing to experience.
On their third full-length, Assailable Agonism, you find the band pushing even further. All six songs boil over with masterful instrumentation and crushing composition.
Clocking in at just under 19 minutes, it feels like a brief but brutal haunting of all of your personal spaces.
Paranoid, blistering, and all-consuming, coated with the grime of drying riverbeds and dust storms. Through its juxtaposition of melodic and noisy elements, it has a presence that will draw in fans of all different styles of music.
"Assailable Agonism" is released by Vina Records (Italy), The Ghost Is Clear (USA), Learning Curve (USA).

BRIDGE - CRYING FOR LOVE b/w LISTEN

Paul Tillman Smith is a significant figure within in the music community of Oakland/Berkeley, California. His connections and collaborations read like a who’s who of famous musicians.

As leader of 70s Buddah Records group ‘Vitamin E’ and then onto ‘Bridge’, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day. It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre.

IZIPHO SOUL are thrilled to release on a 7” for the first time two gems from this magnificent body of work. CRYING FOR LOVE written by Paul Tillman Smith and Michael Robinson is perfection personified, from the production through to the lyrical content - and of course the sublime vocals of Debravon Lewis (RIP) the tone of her voice will move you to tears.

On the flip is LISTEN, penned by Paul Tillman Smith - a tour de force rendition by the late great Freddie Hughes with Sonny Lewis on sax, adding that extra touch of class.

Anaconga”, the fourth Dome album by Bluey and Citrus Sun, is an homage to jazz and soul greats from back in the day, and is the band’s first to be released as a gatefold 2LP.

The album opens with the gorgeous Maynard Ferguson tune “Mister Mellow” from the Seventies, with backing vocals from Tony Momrelle and Deborah Bond. Bluey and Richard Bull share the production . “Down For The Third Time”, the album’s lead single, is a deliciously funky remake of a classic Bobby Caldwell groove from 1978, with Natalie Duncan on vocals and Dominic Glover and Charlie Allen tearing it up on trumpet and guitar respectively.

“Mystic Brew” was originally written and recorded in the Seventies by funk, soul and jazz keyboard legend Ronnie Foster and Bluey includes it “to say thank you for his massive contribution to the music we love and are inspired by”. Erykah Badu’s “Honey”, also with vocals by Natalie Duncan, features beautiful trumpet and flugelhorn from Kevin Robinson.

The stand-out new songs on the album are “Santiago”, which features the young Indonesian harmonica player Rega Dauna, who starred on the band’s “Hard Boiled” instrumental hit from their last album “Expansions & Visions”, and “In Search of the Blue Note”, with Dominic Glover on flugelhorn and Graham Harvey on keyboards, which Bluey says is “inspired by New York City’s jazz history and nightlife”.

Bluey sums up the mood of the album: “I hope that the rhythms wrap themselves around your consciousness and the music slithers into your soul, whilst you bask in the light of the Citrus Sun! Unconstricted love, Bluey”.

Citrus Sun is the mainly instrumental-oriented side project which runs alongside Incognito and features many of the same musicians. The band released their first Dome album “People Of Tomorrow” in 2014.

DJ Support:

Craig Charles, Gilles Peterson, Colleen ‘Cosmo’ Murphy, Francois K, Luke Una and Downtown Disco.

The third in Greg Wilson’s 12 inch DJ series of GW Edits features two uptempo mid-‘70s disco cuts by the Mighty Clouds Of Joy and Vicki Sue Robinson, the latter a huge tune back then, the former very much slept on, but sounding every inch a classic. Reworked with Ché Wilson, following on from last year’s acclaimed remix of Gabriels ‘Love And Hate In A Different Time’, ‘Mighty Cloud’ and ‘The Turnaround’ guarantee full-on dancefloor satisfaction.

This is the first re-release on 7inch vinyl single of the early Reggae classic “She Caught The Train” by Ray Martell released in 1970 on the Trojan sublabel Joe in the U.K. and later covered by UB 40 in 1983. This original song, a huge hit, has featured on many compilations but has never been repressed as a single, until now…
It was initially released with the track “Tea House From Emperor Roscoe” by Dice The boss on the B side (which we will also release separately on the 22nd of March 2024). On this release, we chose to showcase a super rare Ray Martell song, the gorgeous “Cora” initially released on Attack in 1970.
About Joe Mansano:
“She Caught The Train” was credited to Joe Mansano, real name Joel Mansano who also produced the song. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…
About Ray Martell:
“Cora” is credited to Ray Martell himself and was produced by Philligree, an alias for Graham Goodall and Phil Chen. The Philligree duo produced about 20 very interesting singles on a variety of labels with artist such as Desmond Dekker, Millie, Pat Sandy and Ray Martell among others between 1969 and 1970. Although “She Caught The Train” is indeed a famous track, little is known about Ray Martell aka Martel Robinson. Ray was born in St Catherine parish in Jamaica in September 1943. He started to sing at school and church and later on moved to U.K. where he kept on singing in clubs in Coventry and Birmingham … He eventually moved to London where he recorded 4 great tracks in 1970 “She Caught The Train” on Joe, “Cora” and “Loving Lover” on Attack, and “Lover” on Trojan, the last three being written by himself. In 1973 he started his own label “Ray” featuring his own productions but these were unfortunately not as interesting as his previous releases…

We are so excited to present to the world the 3rd and final instalment in Danny Tenaglia’s GU Trilogy, Danny’s mixes have been a huge part of our DNA for many years, with his seminal Athens and London mixes forming the part of many people’s favourite DJ mixes of all time, Brooklyn is a stunning addition to that heritage and we can’t wait to release this album to the world.

This is the Vinyl Edition #2 of the album, curating a stellar selection of techno and melodic house. "As a native of Williamsburg, Brooklyn, this compilation is not only a celebration of my roots but also a tribute to the dynamic and ever-evolving nightlife that ignited and guided my musical career back in 1975.” Danny Tenaglia

2025 Repress

Back digging in their prized vaults, Kaoz Theory cherry pick another two classics to be released for the first time on vinyl. Up first, one of Toronto’s finest Demuir enlists the signature soulfulness of Bluey Robinson for a bumping RnB-tinged, hazy house bomb entitled ‘Lusting U’. On the flip, Chicago legend DJ Sneak hits with a underground jackin’ groover ‘Judy Russell’ in trademark Windy City style.

Top Boy is the British television crime drama series, created and written by Ronan Bennett. The story follows two seasoned drug dealers return to the gritty streets of London, but their pursuit of money and power is threatened by a young and ruthless hustler. It stars Ashley Walters, Kane Robinson, and the

2020 BAFTA Rising Star Award-winning Michael Ward. The first two seasons aired between 2011 and 2013, but following interest from rapper Drake, Netflix announced in 2017 that it would revive the series. Co-produced by the Hotline Bling-rapper, the third and fourth season of Top Boy launched in 2019 and 2022.

In the captivating Netflix series Top Boy, Brian Eno’s transcendent music serves as a vital companion, molding the narrative’s essence with its ethereal power. With a masterful touch, Eno’s atmospheric compositions effortlessly transport us into the gritty world of crime, friendship, and survival in East London. From delicate ambience to pulsating beats, his sonic tapestry envelops every scene, elevating the storytelling and evoking a range of emotions. Eno’s singular ability to capture the struggle, hope, and inner strength of the characters accentuates the raw authenticity of Top Boy, leaving an indelible mark on its viewers. His haunting melodies and intricately crafted soundscapes symbolize the unyielding resilience amidst chaos, making Brian Eno’s music an integral and unforgettable component of this groundbreaking series.

In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the second in a series of vinyl album samplers.

Sampler 2, a sublime gatefold, double 12 inch package sees Kerri soak up and channel the atmosphere of Dublin’s District 8, Glasgow holy grail Sub Club, NYC’s Output and Lisbon’s crowning jewel Lux into four trademark Kerri cuts, doubled up with a further mix of each track for good measure too. Piano-laden deep house, heads-down groovers, vocal-tinged soulful gems, recorded directly from each space, it’s brimming with future classics from start to finish.

Death Is Not The End's 333 sub-label follows the reissue of Devon Russell's Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail - Robert Ffrench's 1985 LP 'Wondering'.

Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early '80s, the Wondering LP followed closely after two acclaimed LP sets ('Showcase' produced with Lord Koos & 'The Favourite' for Ossie Thomas' Black Solidarity label - plus a split showcase LP with Anthony "Gunshot" Johnson for Jah Thomas' Midnight Rock label).

Ffrench would write and produce the Wondering LP himself in it's entirity, laying down the tracks at Herman Chin-Loy's Aquarius & Michael Carroll's Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald "Nambo" Robinson among others, with Beres Hammond also providing backing vocals in places.

Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White's Parish label - and founded his own 'France' label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on 'Modern Girl', and with US rapper Heavy D on the track 'More Love'. Robert's productions released through later label 'Ffrench' would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single "Ruler" on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles 'Everyday of My Life' and 'Black Is a Colour' in late 2022 and Feb 2023 respectively, available through all digital platforms now.

333, under exclusive license from Robert Ffrench.

Franky Wah is now striking out on his own by starting his own label, SHÈN Recordings, which first surfaced at the beginning of 2022 and has since been used as an outlet for his productions. After a string of singles, he quietly put out the label's first album, aptly named This Is SHÈN.

The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.



With 25 years of record collecting, DJing, and promoting parties around the UK, there is little of the dance music spectrum that Stu Robinson has not been involved with. The Liverpool-based artist has amassed a fine understanding of a wide array of scenes, styles and sounds from drum & bass to electro-funk, disco to house and techno – underpinned by a love of breakbeat. The music under his alias ASOK is an amalgamation of this diversity that has found favor with labels like M>O>S, Lobster Theremin, Crème Organization, and Mistress Recordings.



"Mistress 14" opens with "Space Rockets" which is a nod to his breakier love affairs without using actual breakbeats. While second track "Is Anyone" displays his take on classic Chicago House with a little Roland JD-800 euphoria thrown in. On the flip, "Last Refuge" explores driving, rhythmical techno with ASOK's typical ravey pad-like break in the middle until "The Alchemist" closes the 12-inch by laying more focus on melody and texture with a growing, always changing bassline and an ethereal synth that carries the track's energy. The digital bonus track "Apano Sin" concludes the package with a scruffy somewhere in between everything vibe.



ASOK about Mistress 14:



"Mistress 14 is probably the most important EP I have ever made in terms of showing all the different things I am into. I’m difficult to pin down because I’m not really a techno DJ, or a house DJ, or anything like that. I like all forms of electronic dance music. As a DJ, I mix up old and new, familiar with unfamiliar, playing everything from Italo disco to really dark high-bpm breakbeat. As a producer, it’s not easy to put an EP together that covers a little of everything, yet still sounds cohesive. Especially considering that all my tracks were recorded in long live takes, then edited down with no ability to change parts. Sometimes that requires some pretty heavy editing, but that’s one of the good things you get when making music this way. I’m in control of the creative process, rather than feeling like some kind of colored block administrator drawing blocks out on arrangement view of my computer."

By the end of the 1980s, R&B and soul were very much a part of pop culture. However, it was the UK group The Pasadenas who paid the most honest homage to the origins of these genres, with their music drawing on 1950s doo-wop, 1960s Motown and 1970s funk and R&B. The single “Enchanted Lady”, for example, was an ode to Smokey Robinson and could easily have been mistaken for the real thing.

Now their debut album To Whom It May Concern is finally back in stock for the first time on coloured vinyl. The album's biggest hit was "Tribute (Right On)", which took Europe by storm in the summer of 1988. The album was also a huge success, selling over a million copies.

To Whom It May Concern is available as a limited edition on red vinyl and includes an insert.

Die Power-Punk Band ERECTION aus Regensburg steht für das, was moderne Musik oft nicht mehr zu bieten wagt: kompromisslose Ehrlichkeit, rohe Emotionen und eine Klangwelt, die sich irgendwo zwischen Hoffnung, Überforderung und purem elektrischen Aufbruch bewegt. Mit ihrem neuen Album präsentieren sie eine Sammlung von Songs, die das Lebensgefühl einer Generation einfangen, die zwischen Burnout und Selbstentdeckung, zwischen Existenzkampf und Freiheitsdrang ihren Platz sucht. Ihre Musik verbindet moderne Pop- und Elektro-Elemente mit rockiger Direktheit und einer lyrischen Offenheit, die man selten findet. Die neue Platte zeigt diese Ambivalenz deutlicher denn je: laut und leise, hart und zerbrechlich, düster und gleichzeitig voller Sehnsucht nach Licht.

2025 Repress
2xLP 140g smokey green vinyl, gatefold sleeve including board game with tokens.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Having played Sold Out tours and supercharged festival appearances across the UK & Europe, It's no wonder that Jim Jones All Stars were personally selected by The Black Crowes on their 'Happiness Bastards' UK & European dates in 2024.The band also recently joined The Wildhearts on their Spring 25' tour dates.The band's debut album, 'Ain't No Peril', was released in September 2023 to universal praise. Their sophomore studio album 'Cat Fight', produced by Chris Robinson (The Black Crowes) is due on April 3rd 2026 via the Black Crowes 'Silver Arrow' Imprint. But, not ones to rest on their laurels, the band just completed a Sold Out tour of the U.K in support of their brand new Live Album 'Get Down - Get With It - Jim Jones All Stars Live (Released October 24th Via Assai Recordings) 'Get Down & Get With It! Is an unvarnished document of a deep, immersive, and mind- bending journey, a transcendent and hypnotic rock and roll experience. It highlights the band's gritty, unapologetic sound, brimming with raw authenticity and attitude. Visceral and uncompromising, it is an electrifying live performance that true believers will never forget

2026 Repress

Lisa Decker returned with her second studio album "Soliloquise" one year after her debut album "Serendipity" in 2021 with Japanese Jazz trio Nautilus from Tokyo and a superb single remix of "Everytime" by Pat Van Dyke featuring rapper John Robinson.

For this project she worked on eight new songs. Half of the album is arranged by Nautilus and the other half is produced by SaturnVybz who is known for his works with/and projects like Slick Walk, The Ruff Cats and Jazzanova.

Getting a step forward and conceptually a bit different this release gets the "Oonops Drops" FLIP SERIES treatment which means: Side A and Side B are made by different artists or differentiate from each other like the first volume with Nautilus X Anna Sato & Toshiyuki Sasaki (OD006LP).

Songs like "Free", "Let's Wake Up" and "Summer Child" with their feel warm note of groovy, jazzy pop and the more swing-jazz tune "Rimy Whitewater" meet guitar-electronic touched songs like "Love And Hope", "On My Way" and "True Blue" or her dreamt away track "Stay With Me" with smooth bouncy beats and with an atmosphere for being the perfect soundtrack for a night ride on deserted streets.

Lisa is careful about the artwork and after working together with renowned artist Lindsey Kustusch from San Francisco on her first album she collaborates with local artist Sebastian Maria Otto who is known for his signature art style and exhibitions from Germany to Japan.

Lisa will perform live in Hanover, the 20th May at roof top of the Historical Museum together with Nautilus. Japan meets Germany. Lucky coincidence or: "Serendipity".

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

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

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

Nina Wilson, better known as Ninajirachi, is a 26-year-old Australian electronic producer who released her debut album I Love My Computer earlier this year via NLV Records. A concept record built on her connection with her PC, swiping between genres of EDM, tech-house, speed garage, dubstep, and hyperpop. Wilson builds on the legacy of early-2000s and 2010s Australian electronic artists like PNAU and Flume using technology as a medium, a motif, and a mirror for reflection. Between remixing Princess Nokia, Deadmau5 & The Neptunes, releasing on Nina Las V egas’ NLV Records and RL Grime’s Sable V alley, Ninajirachi has performed at Lollapalooza, EDC, Laneway, Listen Out, Splendour, Falls Festival, and more and toured with Mallrat, Charli XCX, Porter Robinson and Cashmere Cat.

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior. Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021). 'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece. RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird. This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…" Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine. Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual. 'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025. The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'. TRACKLIST: 01: Clean Up (EP Mix) 02: Go Get Your Money 03: Beretta (feat. Lucey Way) 04: Things 05: Rolling 06: Go Get Your Money (B-Sharp Mix) Deconstructed Mixes

The seventh release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior.

Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021).

'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece.

RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird.

This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…"

Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine.

Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual.

'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025.

The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'.

Horace Andy made his debut with producer and mentor Phil Pratt at the age of sixteen. His voice has the soulful influence of artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles Including versions of hits like "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these tracks were record at the legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17, with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson. The album is also a showcase for The Soul Syndicate Band, the session group that featured Sly & Robbie, Aston Barrett and Earl Smith, among others. Get Wise is available as a limited individually numbered edition of 750 individually numbered copies on orange coloured vinyl.

Mutant, in partnership with Sony Masterworks, is proud to present the soundtrack to this spring's runaway sensation - the Various Artists soundtrack to Ryan Coogler's SINNERS

The album is executive produced by the film’s composer Ludwig Göransson (who also serves as an executive producer on the movie), Coogler & Serena Göransson and features original songs and recordings by Miles Caton, Rod Wave, James Blake, Don Toliver, Brittany Howard, Raphael Saadiq, Hailee Steinfeld, Rhiannon Giddens, Buddy Guy, Cedric Burnside, Eric Gales, Christone “Kingfish” Ingram, Jerry Cantrell, Iarla Ó Lionáird, Lola Kirke, Bobby Rush, Peter Dreams, OG DAYV, Jack O’Connell, Sharde Thomas-Mallory & others. 

The soundtrack is available digitally from Sony Masterworks (visit Amazon or any other major digital music services to stream/download). 

Mutant, and Sony Classical will also release a second album featuring original score by Academy Award® winning composer Ludwig Göransson.

SINNERS is written and directed by Coogler and stars Michael B. Jordan, Hailee Steinfeld, O’Connell, Wunmi Mosaku, Omar Benson Miller, Jayme Lawson and Delroy Lindo. The Proximity Media production will be released in theaters nationwide on April 18 by Warner Bros. Pictures.

„Amorica” ist das dritte Album der aus Atlanta stammenden und von den Brüdern Chris und Rich Robinson
gegründeten Rockband The Black Crowes. Nach zwei erfolgreichen Alben, „Shake Your Money Maker”
(1990) und „The Southern Harmony and Musical Companion” (1992), standen die Brüder 1993 vor der
Herausforderung, an diese Erfolge anzuknüpfen. Obwohl Chris und Rich ihre persönlichen Probleme haben,
gibt es eine
Verbindung, die sie zusammenhält und zu Amorica führt. Das Amorica-Boxset und das einstündige Gespräch
mit Chris und Rich reflektieren, wie diese Verbindung auf die Probe gestellt wurde, als sie versuchten, Tall
(das verworfene Album vor Amorica) aufzunehmen, sich neu zu formieren und die richtige Energie zu finden,
um „Amorica” aufzunehmen. Sie erzählen auch von der legendären „Mushroom Party”, die am Ende der
Amorica-Sessions stattfand und sowohl die Visuals als auch das Albumcover beeinflusste.
Amorica erscheint am 14.11.2025 als limitierte CD- und Vinyl-Box und 2LP

„Amorica” ist das dritte Album der aus Atlanta stammenden und von den Brüdern Chris und Rich Robinson
gegründeten Rockband The Black Crowes. Nach zwei erfolgreichen Alben, „Shake Your Money Maker”
(1990) und „The Southern Harmony and Musical Companion” (1992), standen die Brüder 1993 vor der
Herausforderung, an diese Erfolge anzuknüpfen. Obwohl Chris und Rich ihre persönlichen Probleme haben,
gibt es eine
Verbindung, die sie zusammenhält und zu Amorica führt. Das Amorica-Boxset und das einstündige Gespräch
mit Chris und Rich reflektieren, wie diese Verbindung auf die Probe gestellt wurde, als sie versuchten, Tall
(das verworfene Album vor Amorica) aufzunehmen, sich neu zu formieren und die richtige Energie zu finden,
um „Amorica” aufzunehmen. Sie erzählen auch von der legendären „Mushroom Party”, die am Ende der
Amorica-Sessions stattfand und sowohl die Visuals als auch das Albumcover beeinflusste.
Amorica erscheint am 14.11.2025 als limitierte CD- und Vinyl-Box und 2LP

Early support from Dave Clarke, Joseph Capriati, Marco Bailey, Kölsch, SLAM, Jonathan Kaspar, Trecci, Nicolas Masseyeff, Dimitri Kneppers, Costello, Luciano Esse, Âme, and more. Laurent Garnier's COD3 QR doubles up this October with accompanying vinyl and digital releases featuring two tracks apiece from Skatman, Costello, Lois (FR), Carlos Nilmmns, Jay Robinson and DCLVIII OFC… it's The Big Fat Kahuna Burger!

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Zum 20-jährigen Jubiläum erscheint A Certain Trigger gemeinsam mit der 2006er B-Sides- und Demo-Compilation Missing Songs als hochwertige 2LP auf schwarzem Vinyl im Gatefold-Cover. Die Zusammenstellung enthält seltene B-Seiten und Demo-Aufnahmen aus den UK-Singles dieser Ära und wird ergänzt durch ein beidseitig bedrucktes, farbiges 60 × 90 cm Poster auf luxuriösem Kunstdruckpapier. Ein Sammlerstück für alle Fans des energiegeladenen Indie-Rock-Sounds von Maxïmo Park.

Format: 2LP schwarzes Vinyl, Gatefold, inkl. beidseitigem Farbposter (60 × 90 cm)

"Rags, Ballads & Harmonium Songs. Chanteys, Come-All-Ye's, Aborigine Song Sticks. Gospel, Improvisations, Renaissance Lyrics, Blake Hymns, Bluegrass, Hillbilly Riffs, Country & Western, 50's R&B, Dirty Dozens & New Wave"

Allen Ginsberg's recorded opus gets its first ever full vinyl reissue on a gatefold double vinyl LP replete with photography by Robert Frank. Containing studio-recorded performances that he wrote, performed and taped in sessions taking place between 1971 and 1981 - featuring Bob Dylan, Arthur Russell, Anne Waldman, David Mansfield, Perry Robinson, David Amram and many other friends and contemporaries.

A selection of what were arguably "demos" for this record were originally recorded by the legendary Harry Smith at his apartment in the Chelsea Hotel in the early 70s, and this would later appear on Folkways as First Blues: Rags, Ballads & Harmonium Songs.

Sit, you sit down
Breathe when you breathe
Lie down, you lie down
Walk where you walk

Talk when you talk
Cry when you cry
Lie down, you lie down
Die when you die credits

Issued under license from the Allen Ginsberg estate. With thanks for Peter Hale, Peter Wright & John Allen.



c 03: Jimmy Berman (Gay Lib Rag) feat. Bob Dylan, David Amram, Perry Robinson, Happy Traum, Jon Sholle, Surya, Moruga, Peter Orlovsky & Anne Waldman

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

GAISTER (Olivia Salvadori, Akihide Monna and Coby Sey) release their self-titled LP.

The record captures the embodiment of an encounter, one moment of the trio’s ongoing relationship as artists who communicate with each other through sound, voice and music.
After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori’s artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London.

When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album’s sonic palette, process and emotion. The album was recorded in Iceland at
Greenhouse Studios, where the trio formalised a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words.

As Akihide has said of the experience during their short and intense recording period: “The sound spontaneously spun out as if we were pulling at each other's hearts and minds with a strange internal connection and sensation. Something pure was brought out.”

‘Gaister’ itself is a made up word, sprung from the German ‘Geist’ to mean ‘spirit’, and made into a sound of its own. A purity, spirit and essence is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres and identities to create something new. Olivia Salvadori’s operatic vocals run free, flowing and moving in
synergy with Monna’s rhythmic drumming. Sey sings freely with Salvadori, their voices braided together like a waterfall.

This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band’s ethos of
constant conversation and collaboration.
As Sey speaks of the trio’s relationship: “Olivia, Monchan and I had performed live together once before, several years before this song and this album came to be… and yet, we fully trust each other’s intuition when performing and creating music together because of our unified belief in the ability of sound and music to communicate and connect.”
credits
releases November 1, 2024

Olivia Salvadori: voice
Akihide Monna: voice, drums, percussions
Coby Sey: voice, percussions, synths, wurlitzer

Recorded at Greenhouse Studios in Reykjavik, Iceland

Recorded and producer: Sandro Mussida
Sound engineer: Francesco Fabris
Studio assistant: Domiziano Maselli and Jakob Vasak

Mixing engineer: Kristian Craig Robinson at Total Refreshment Centre, London, UK

"Later Than You Think" erscheint bei seinem neuen Label YOUNG und beschäftigt sich mit Themen wie Trauer, Gerechtigkeit, Wiedergeburt, Transformation und spirituellem Kampf. Es ist ein Werk von Bekenntnis und Konfrontation, für das sich Affekt, Intellekt und Geist auf der Suche nach dem Schönen, der Wahrheit und dem Realen zusammenschließen. Entstanden ist das Album in den Ozarks von Missouri. Die 16 Tracks vereinen Elemente und Gegensätze wie Üppigkeit und rohe Reduziertheit, das Heilige und das Profane, minimalistische Disziplin und maximale Schwelgerei, Kontrapunkt und simple Popharmonien. Im Kern unterstreicht das Album aber vor allem Maus" Hingabe an radikale Aufrichtigkeit und emotionale Wahrhaftigkeit in einem Zeitalter der Entfremdung - angetrieben von Konfrontation, Glauben und der tiefen Überzeugung, dass Sinn und Bedeutung noch immer etwas meinen. Maus, der einen Abschluss in Experimental Music und einen Doktortitel in Politikwissenschaft hat, wurde für die Art und Weise, auf die er akademische Sorgfalt und Lo-Fi Synthpop-Ästhetik verbindet, mal als "philosopher pop star" mal als "analog futurist" bezeichnet. Sein Wirken zieht sich dabei quer durch die Popkultur - von der Grime-Ikone Skepta, der seinen Track "I"m Only Human" sampelte bis zum Gen-Z-Rapper nettspend, von Filmemacher Josh Safdie ("Uncut Gems") bis zum Fotografen Wolfgang Tillmans. Sein Track "Cop Killer" ist im 2025er Film "Friendship" mit Tim Robinson und Paul Rudd enthalten. Mit exzessiven Liveshows und seinen bislang erschienenen Alben, auf denen Ironie, Trauer, Freude und Absurdität stets dicht beieinander liegen, hat Maus einen einzigartigen Weg beschritten und sich eine ergebene Fanbase erspielt.

[j] A10 Dirge [for Neomar Lander]

The Tedeschi Trucks Band and Leon Russell’s Mad Dogs & Englishmen Revisited ist eine lebendige Hommage an eine der kultigsten Live-Rock-Kollaborationen der Musikgeschichte. Ursprünglich von Joe Cocker
und dem legendären Keyboarder und Bandleader Leon Russell im Jahr 1970 geleitet, war Mad Dogs &
Englishmen eine raue, gefühlvolle Tour, die ein riesiges Ensemble von Musikern zusammenbrachte. Im
Jahr 2015 ließ die Tedeschi Trucks Band unter der Leitung des Gitarrenvirtuosen Derek Trucks und der
kraftvollen Sängerin Susan Tedeschi diesen Meilenstein wieder aufleben und fügte ihm ihre eigene Mischung
aus Südstaaten-Soul, Blues und Rock hinzu.
Das Revival-Konzert im Rahmen des Lockn’ Festivals war mit einem Staraufgebot besetzt. TTB brachten
nicht nur ihr übliches 12-köpfiges Ensemble mit, sondern begrüßten auch ursprüngliche Mad Dogs-Mitglieder
wie Rita Coolidge, Chris Stainton und Claudia Lennear sowie eine vielfältige Gruppe zeitgenössischer Kollaborateure, darunter Chris Robinson von den Black Crowes, Warren Haynes, Anders Osborne und Dave
Mason. Die Bühne schwoll oft auf über 20 Musiker an, was den großen, gemeinschaftlichen Geist der
ursprünglichen Tournee widerspiegelte.
Derek Trucks selbst sagt zum Projekt:
”Als ich anfing, mit Susan darüber zu sprechen, eine Band zu gründen, schauten wir ungefähr zu der
Zeit den Film ‚Mad Dogs‘ noch einmal. Uns ist klar geworden: Wenn wir jemals eine Big Band oder einen
Rock ‚n‘ Roll-Zirkus machen wollten, dann ist jetzt der richtige Ze

A hard-hitting slab of electro-boogie released on the legendary Street Level label in 1985, Lemuria’s Thunder In Your Love was written and
produced by Phil Valentine, who also provides the gritty lead vocals, and features backing from members of the influential Italo-American post-
disco outfits B. B. & Q. Band and Change, including New York session aces Leslie Ming (drums), Timmy Allen (bass) and guitarists Kevin
Robinson and Ira Siegel, whose impressive fret work powers this highly addictive track. This is a must-have for collectors of funky sounds and
rare groove from the mid-1980s.

With his honeyed falsetto, Horace Andy has long been considered one of roots reggae's most inimitable voices. His signature tune, "Skylarking," is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy's expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles produced by Pratt including versions of hits "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm.

Originally released on Pratt's Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston "Family Man" Barrett and Earl "Chinna" Smith, among others.

Get Wise delivers ten tracks of Andy's finest material and should be in the collection of any aficionado of the classic '70s Kingston sound. Liner notes by JR Gonne.

PEACOCK DREAMS


After the resounding success of his project Le Cri du Caire, whose eponymous album was awarded a Victoire du Jazz in the “World Music Album” category, Abdullah Miniawy returns with ‘Peacock Dreams’, the first opus of his new trio formation released on the label PPL Songs Aghani Al-Khalq.


Accompanied by trombonists Robinson Khoury (2024 Django Reinhardt Prize from the Academy of Jazz) and Jules Boittin, Abdullah Miniawy presents an unconventional combination of three tenor instruments. The lyrical depth of the voice of the Egyptian poet, singer, and composer merges with the bold expressive capabilities of the two trombones, allowing him to explore unprecedented sound ranges that connect Western and Eastern musical traditions.


The Trio performs Abdullah Miniawy's latest musical compositions, as well as adapts former work stemming from the Egyptian revolution and his previous formation Le Cri du Caire, while highlighting collaborations by inviting trumpeter Erik Truffaz, flamenco singer Niño de Elche, and danish-indian producer Hvad on some tracks.


‘Peacock Dreams’ engages the audience in a unique musical experience that freely combines baroque and operatic influences, Sufi and Coptic themes, and musical motifs from the Arabian Peninsula, infused with the jazzy cacophony of Egyptian traffic jams, once more revealing the transcendental and communional power of Abdullah Miniawy's music.


ALBUM PITCH


A peacock dreams of being a poet. It concentrates, trying to shed its colors, turning its feathers into a gradient of flesh. On the other hand, a poet longs for the peacock’s colors—a galactic blend of earth, forest, sea, and sky, seen from a high vantage point.


A poet can close their eyes and absorb the knowledge of the finite, and absorb the knowledge of the finite, yet miss much, trapped in monotone concentration, eyebrows plucked down to 111.


The peacock, dipping in the ink drops from the poet's pen, sails through a tube into the poet's body. A fluttering storm erupts, reversing the roles: the peacock finds itself under an arrest warrant, while the poet, reducing his expression to a roaring "Wak-wak," struggles to describe the world.

Changin’ Times
Eighties Disco-Funk meets Hip Hop’s early sparks. All Platinum's Sylvia Robinson is responsible for this masterpiece. Reissued for the first time in four decades. Special edition rainbow foil sleeve.