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In 2016, Universal Music and The Walt Disney Company France presented ‘Jazz Loves Disney’, followed in 2017 by ‘Jazz Loves Disney 2 – A Kind of Magic’, as part of the We Love Disney series.

Produced by Jay Newland, arranged and directed by Rob Mousey, the project brought together talented and renowned artists to pay tribute to the most beautiful and symbolic tunes of Walt Disney’s magic world and render exclusive jazz versions.

The remarkable cast includes Gregory Porter, Melody Gardot, Stacey Kent, George Benson, Madeleine Peyroux, Laura Mvula, Jacob Collier, Bebel Gilberto, Jamie Callum and Eric Cantona.

DJ Support: Frank Rizardo, Capriati Bros, Dice, Marco, Bibi, Pawsa, Rossi, Richy Ahmed, Jamie Jones, Illario Alicante, Blondish

The Leeds/Hull born DJ has always championed new and younger artists. But with Nature his aim was to begin to develop the careers of next-gen talent alongside already established tech-house figures. After overseeing a steady stream of serious tech-house numbers as the Nature head, wAFF will take back the reigns for the label’s 12th release.

‘Leaving You’ sets off with an addictive groove that vigorously permeates throughout the 7-minute opener. Like many of Nature’s releases, the track features a vocal lead that will remain with you long after leaving the dance. Its vibrant sound design is underpinned by a tough bassline and simmering percussion.

wAFF employs a taut and squelchy pad combo on ‘Underbite’ to accompany a tumbling bass. The track unrolls like a coiled spring, steadily expanding into a hi-energy, foot stomper that oozes with a sugary ambience despite its somewhat hard-edged undertone.

The snappy claps and zig-zagging synths that open ‘Fat Couch’ are a constant throughout the EP’s final number. It’s another playful but sharply presented track that switches up late on as an ominous, Jaws like melody circles before a chopped vocal – which is instantly recognisable – signals the last few measures of oscillating bass, hypo hats and snares.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.

Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.

‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Oversized custom cut LP jackets (13” / 33.02 cm width)
Silkscreened with bespoke iridescent citrus green ink by Mark Rice
Short story by Natalia Zuluaga

Flexi 7”:
steaming mescaline (extended mix by bad lsd trips)
Citrus green metallic foil stamp
Pressed in full stereo
Edition of 150

I.

bad lsd trips is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On ultrafest, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On ultrafest (this album) something different occurs. The space and events are built around you as you move through the record.

II.

The name of the album is ultrafest, which should effectively provoke your mind's eye the imagery of young people dancing, salivating, grinding, and imbibing chemical compounds to the perversely formalized musical genres of “Electronic Dance Music” and latter-era Dubstep often heard in European Uber rides and energy drink commercials. A far distance from the icy and machinic reverie of Techno’s finest rave eras or the notable historical contributions of Miami’s cerebral producers to IDM’s global output, ultrafest is a libidinal catharsis as festival scaled to a multinational corporation of hedonistic excess. The festival has been a hallmark of Miami cultural industry production and optical enticement for tourism, purportedly bringing in nearly a billion dollars in revenue to the city since 2012. Scores of documentation exist wherein this decadent escapism leaves the concertgoer, usually in some neon garment on a near nude body potentially adorned with fluffy faux fur leg warmers, facing a comedown from the combination of volume, sun, dehydration, and methylenedioxy-methylamphetamine. This MDMA experience characterizes an aspect of the way bad lsd trips employs vocals and pitch on this album. The detached, high octaved longing of a high pitched vocal is decoupled from its typical auditory body of song. High-pass clicks and pops touch the (h)air on the back of the neck, promising goosebumps and teasing towards euphoric rushes of dopamine, yet also exist decoupled from the body of song. As the dopamine depletes and the sun imposes itself, Miami’s downtown of skeleton real estate is your company as you meander towards your parked vehicle to rest your fatigued senses, elevated heart rate, and quench the need for air conditioning on your skin. The immediacy of bombastic social immersion to architectural alienation palpable here.

III...

- Nick Klein

repressed !

With this Ep for Mother Tongue Gerald Mitchell really shows what Soul is all about. The first Los Hermanos Ep on vinyl in over a decade brings it back to Church and then some! From the Gospel tones of the dancefloor smasher 'Another Day', to the electric techno-jazz of 'Binary Funk Infusion' featuring Bob Rogue think of Herbie's Dedication meeting Axis and finally closing and melting with 'Let Lot Live' featuring the incredible voice of Billy Love...it was definitely worth the wait.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

Control 333 is the E.P. of Uruguayan artist Leo Mendez a.k.a Jardines Sin Explorar, who has left this earthly plane at the beginning of 2024.

This release features 2 super powerful EBM tracks, with infernal bass lines and melodies that achieve a rave atmosphere, 2 pieces of music that takes us on a ride to the true essence of the Underground culture of electronic music.

"Heridas", a track with a classic Ebm sound with a strong bass that marks the hypnotic of the track, accompanied by melodies in their leeds with influences of the punk sound that characterized Jardines, a track loaded with many feelings that are transformed into pure fire. "Turbio" is the second track of the ep, which is more characterised by the electro industrial sound with post punk influences, rhythmic leads and break drums with crashing vocals that lead you to explore your darker side.

Josh Johnson’s Unusual Object is a world of sound. His fantastically processed saxophone & subtle samples & grooves give this work a sort of cyberpunk ambient jazz feel that crosses into realms akin to classic Warp Records and Jon Hassell. These qualities serve to bring the listener closer to Johnson, to his breath, his sense of song. In 2023, Johnson was grammy-nominated for producing Meshell Ndegeocello’s The Omnichord Real Book (Blue Note).

"Unusual Object" by Josh Johnson includes the following tracks: "Telling You", "Deep Dark", "Reddish", "Local City of Industry" and more.

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.

Longcut Records thrives on the transformative power of music. Discover concept albums that tell stories of journeys, struggles and raw emotions. Find your next soundtrack to let your mind wander or join us in our social activism, amplifying the voices that deserve to be heard. Just like our emblem—a spirited dachshund in motion—we embody relentless energy and a rebellious spirit against mainstream music. Mind us, but our true heartbeat resonates most powerfully with modern composition, ambient, techno, jazz, and experimental sounds.

DJ Support: Danny Krivit, Mousse T, Michael Gray, The Shapeshifters, Seamus Haji, Moplen, Dr Packer and more...

House Music veterans Dj Fudge & Ralph Session make their debut on Groove Culture with 'Golden', featuring the powerhouse vocals of Chinua Hawk. The track is a surefire dancefloor weapon, built on a foundation of bumping bass and infectious house beats. Syncopated synth stabs add a touch of playful energy, perfectly complementing Hawk’s soulful vocals that radiate warmth and positivity. Package includes 2 remixes from Groove Culture bosses Micky More & Andy Tee who add a beautiful live Jazz instrumentation to this great records!

This first Adam Beyer x Eli Brown collaborative release has been feverishly anticipated by fans keeping tabs on their growing friendship and further excited by the pair’s first official B2B at Lisbon’s Brunch Electronik in September. Now ‘Overdose of Bass’ EP is here, a power-packed techno two-tracker enriched by diverse elements, on Beyer’s Drumcode.

It also marks Eli Brown’s welcome return to the label after his massive collaboration this January ‘When I Push’ with Layton Giordani and OFFAIAH following Brown’s 2022 EP ‘Deep Down’. The EP ‘Overdose of Bass’ combines recent developments and past influences of both techno giants.

‘Overdose of Bass’: the title track has rattling snares and a breaksy beat ushering in a spoken vocal layering different levels of processing, for a half sensual, half robotic riff – ‘there it goes/ overdose/of bass’ – with the doppler siren builds, giving a spacey, mysterious call and response. Hypnotic, disturbing, and edgy.

‘Living In The Moment’: an urgent techno beat, a Moroder-esque bass synth, and a recurrent riff like a signal becoming ever more high and desperate, are counterpointed by an ethereal, quavering, sweet female vocal, strengthened by the melodic build in the huge central breakdown. Urgent, demanding, hyper, this is dancefloor heaven.

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

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

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

2026 Repress
Oscar Mulero keeps busy in his studio facilities as usual. His musical output keeps growing and always wandering into new directions and flavors while preserving his artistic integrity. For this Ep on his very own Pole Group imprint he showcases his combative side after some excursions into more profound and intricate territories.

Poisonality EP is about the wise use of distortion on techno, is about non conforming with the seasonal standards, about investigating new rhythms, new types of arrangements and new boundaries in sound design, always remembering the roots.

Aroma de Falso Amor is the first exercise, exploring the abrasive power of broken distorted beats, overdriven drones and textures and hyper dynamic song structures. The result is a non conventional techno workout, essential to give spice to any set.

Poisonality gives name to the EP and works with asymmetry combined with the right dose of crispiness, creating a super shuffled hi tech jam. Chaotic, hypnotic and mental.

Iris Malicioso opens the B side with an eye on the funkier Detroit tradition combined with the power of the best British influences from the nineties. Here drums and stabs are the main ingredients, interleaving, mutating and constantly evolving. Hi tech funk in its purest expression.

Dos Pequeños Zorros closes the tracklist, again focusing on the dancefloor and keeping the ingredients minimal, continuous and obsessive with a rugged, constantly twisted sequence running over a precise groove, keeping things busy through all the structure

The critically acclaimed Colours & Light, Project Gemini’s second album, takes on a new life in Deluxe Edition format. Firmly rooted in the mood and melodies of the original album, the Deluxe Edition features an unreleased album track, alternate versions and a whole host of remixes from friends of Project Gemini. To accompany the digital release, Jack Sharp’s (Wolf People/Large Plants) distinctive, distortion-heavy remix of ‘After The Dawn’, and the previously unreleased ‘Darkness Rising’, receive a special 7” pressing.

On the A side, Jack Sharp of the psychedelic, folk rock bands Wolf People and Large Plants, takes on ‘After The Dawn’. Sharp, who featured heavily on Colours & Light, dials up the distortion with this all-consuming, darker shade of a remix. Sucking you down into a wormhole of layered guitar reverberations and Paul’s spiralling, echoed vocals, it’s an intoxicating, driving hit of mind-bending, progressive rock.

Taken from the Colours & Light album recording session, the B side features ‘Darkness Rising’. A previously unreleased, original track that didn’t make it onto the album, Project Gemini leans in on the wah-wah fuzzed guitars, using it as the basis for a sonic brew of synths, percussion and bass-heavy, psychedelic rock synergy.

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.

Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.

The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.

For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.

Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.

Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.

With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!

Including wanted vinyl tracks by Bob Sinclar, Young Marco, Pegassi, Rusko, Blue Boy, Florence + The Machine, Cherrymoon Trax, Used, Benny Benassi and Fish Go Deep.

Marshall McLuhan said:
"Knowledge gets in the way. It is only the very ignorant person who can get past that problem because he is not fogged over by knowledge. When you're looking for new answers to new questions, it is knowledge itself that blocks progress. It is knowledge that creates rear currents just as wealth creates poverty. Knowledge creates ignorance."


We are very happy to announce the second instalment in our collaboration with SMEM. Dorian Concept spent 10 days at the Swiss Museum for Electronic Music Instruments to record Music From A Room Full of Synths. Even though he doesn't consider himself a "gear-guy," his unique approach led to a record defined by its playful curiosity and free-form arrangements. The entire album was recorded live, with no sequencing or programming involved. Thus, capturing the rawness of the moment, while celebrating the quirks and imperfections of older electronic-music gear, became the core of this project.


Dorian Concept is a highly respected electronic musician who has been releasing music for close to two decades. As a cross-genre "synthesizer virtuoso," he mixes experimental electronic sounds with jazz, ambient, and club music. Due to his unmistakable sound and singular live show, he has become a sought-after performer. Over the course of his career, he has collaborated with musicians and producers such as Flying Lotus, Thundercat, and Kenny Beats.

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.

Deeply grooving techno and house jams

Toshihiko Mori – a former keyboard player with Riuichi Sakamoto – has made an EP for Biophon Records using the legendary Prophet 5 synthesizer as the main instrument.

Toshihiko Mori was born and lives in Tokyo. He toured with Riuichi Sakamoto all over the World in the 90s as a keyboard player and rhythm arranger. He also did all the drum programming on Sakamoto´s album Smoochy released in 1995.

Jinen is a different affair though. It contains no drums or sequencers, only improvisations on the Prophet 5, plus the occasional vintage Yamaha VSS-30 8-bit sampler, a few granular guitar pedals and some field recordings from Mori´s walks in the Japanese forests and mountains. Jinen is Japanese for Spontaneity.

"I was thinking Japanese culture, hi-tech and nature, Shinkansen, film directors like SABU, Masaki Kobayashi and Akira Kurosawa, and Riuichi Sakamoto´s first solo album B-2 Unit when I heard his music." (Geir Jenssen, aka Biosphere).

Back in stock due to popular demand, the 33rd release in our signature Brazil 45’s series. A spellbinding pairing of Marcio Lott’s rarer than hen’s teeth, sun-soaked groover ‘Tema de Baby’ and the samba-rock fusion flavours of Silvio Cesar ‘A Festa’.

Marcio Lott’s ‘Tema de Baby’ is a REALLY rare one. We spent a long time trying to license this and were delighted to be able to release it as part of this series. Laid back sunshine samba-rock/funk/MPB, laced with Ramsey Lewis-esque piano and wah-wah guitars and lovely vocals top it off. Originally released on 7” by Tapecar in 1974.

Silvio Cesar’s ‘A Festa’ was brought to our attention - like many others in this series - by the almighty duo Brazilian Beats Brooklyn. A firm favourite here with everyone at Mr Bongo it’s a certified stormer from the opening beat. Jazzy, samba-rock fusion that touches on disco when the hi-hats open up. Floating synth lines, tough drums and crowd noise throughout add to the scintillating vibe. Taken from his LP ‘Som E Palavras’ released in 1977, as also featured on our Brazilian Beats Brooklyn compilation.

Occult Vision; a new LP based imprint, offers a space for artists to share a more complete body of their work. We create windows into the deeper, alternative and often more authentic sounds of carefully selected artists. It's rare a producer in the underground house and techno scene has this type of platform and Occult Vision aims to fill the void. Our first album is from one of Frankfurt's finest producers, Frank Heinrich. Known to most as Reboot and sharing what will be his first solo LP since 2016, we have here an intricately crafted collection of music that was brought to life during the lockdown phase of the pandemic. This unique time had a resounding impact on Franks creativity in the studio, leading to a sound that strongly represents his emotions throughout that period. The tracks we have helped to curate for this release are often melancholic, yet hopeful with carefully placed textures and rhythms carrying a stripped back yet emotive energy throughout. This isn't your typical club music; it's more personal and meant as a listening experience. "On A Grind" presents the harshness and rawness of that period for so many of us and whilst you will hear Reboots style weaved into these tracks, Frank hopes that you will feel the passion and emotions put into this record accompanying you in your own moments of reflection.

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.