quête:jack the track

Debut full-length collaboration from Jack Burton and Rory Glacken (Tourist Kid)
Follows Jack Burton's solo LP on Analogue Attic and Tourist Kid's solo LP on Melody As Truth
Early support from Ben Fester, Best Effort/DJ Earl Grey, Biscuit (Good Morning Tapes), Brian Not Brian, Ewan Jansen, Kato, Merve, Sleep D & Wax'o Paradiso
Dentistry is the dual energies of Rory Glacken and Jack Burton, Boorloo originals now living in Naarm. The pair have previously released an EP, "Ribbons," on their own Deep Water label, and a track on its local showcase comp "Greenhouse Vol. I" at the end of 2021. This transmission is their debut full length offering, channeled through hometown beacon Good Company Records.

"LP1" was created in unusual conditions between September and December of 2020, when the duo's shared Northcote studio became a site of remote collaboration. One person would start working on a track and leave the session open for the other, with no overlap of physical space shared. Responding to an invitation from GCR to make a record, the initial impulse was to write dance music. But what dance floor were these incorporeal partners writing for?

The album takes a spectral approach to the dance space, wrapping up air in a strata of textural tech, pulsing dub house and fractal illbience. Drawing on dub production techniques, "LP1" combines the structure of an ambient record with intricate percussive elements. Results are both atmospheric and material, abstract and palpable: a synthesis which expresses sonic relations of surface and depth, with the correlating mirage of light and shadow.

At times tinkering methodically and others in mercurial lurch, there is an immediacy to this album that stems from the way it was produced, using a mixing desk and outboard gear to rich and living effect. When we listen, we commune with the artists in the heat of working out of an otherworldly space, and feel every tweak and and turn. "LP1" is a current which carries the substance of process in communicable form. Intuitive and moving, breathing, dancing.

SECOND EDITION. Supersuckers original Sub Pop Demos 1989, for the first time on vinyl. Remastered by Mikey Young in 2020. Recorded by in late 1988 in Tucson, AZ (tracks 1-2) and late 1989 at Word Of Mouth by Jack Endino, Seattle, WA (tracks 3 to 13) Black Supersuckers on these recordings: Eddie 'Spaghetti' Daly, Dan Bolton, Dan Seigal, Ron Heathman,

* Comes with the original 1985 artworks & obi strip. * All-star line-up featuring Herbie Hancock, Mory Kante & Bernie Worrell. * 180g blue Vinyl repress. Manu Dibango needs little introduction, born in Cameroon in 1933, Manu developed a musical style fusing jazz, funk, and traditional Cameroonian music. He's definitely among the best known African artists outside of Africa. Collaborations were numerous and include top acts like Fela Kuti, Herbie Hancock, Bill Laswell, Sly & Robbie, Don Cherry and Bernie Worrell. In addition to selling hundreds of thousands of copies of the albums he recorded, he played such huge venues as Yankee Stadium and Madison Square Garden. In 1972, at 40 years of age, Manu Dibango did something almost unheard of for an African artist - he had a pop hit. His song "Soul Makossa" became an enormous hit which influenced popular music for decades to follow. First picked up by David Mancuso (The Loft), "Soul Makossa" took New York dance floors by storm & in July 1973 it became the first disco record to enter the Billboard Top 40_an early instance of Western pop experiencing a paradigm shift thanks to Africa. The song's chant of "ma-mako ma-ma-sa mako-mako sa" echoes through the greatest-selling pop album of all-time, Michael Jackson's Thriller, and it's in the DNA of the music of Kanye West, Rihanna, A Tribe Called Quest, Akon and The Fugees. By 1985, Dibango was back in Paris, one of the most successful African artists in the world, to start on the recordings for the Electric Africa album. This album hooked Manu and the Soul Makossa Gang up with New York avant garde producer Bill Laswell, jazz pianist Herbie Hancock, Parliament-Funkadelic keyboard player Bernie Worrell, Pan African synthesist Wally Badarou, New York guitarist Nicky Scopelitis, African drummer Aiyb Dieng and Malian kora virtuoso Mory Kante. This means of working gave Manu and Laswell license to fuse synthesizers and kora, talking drums and samples, ngoni and electric guitar. What it all boils down to is world beat in its truest sense. Electric Africa remains one of Manu's strongest albums. His deep growl of a honey and sandpaper voice and the energetic honk of his saxophone merge with the seamless samples and the myriad hand percussion and overt funkiness of his band. Herbie Hancock plays on three tracks, contributing an amazing electric piano solo on the title track and interacting with Manu's sax while weaving to the warp of Mory Kante's kora during "L'arbre a Palabres." Similarly but more subtly, Laswell, Badarou and Worrell play dueling synthesizers in and around the band throughout "Pata Piya." All of this makes the album an hypnotic & upbeat Afro-Funk classic that will rock every part your body (and mind). Now finally back available as a limited vinyl edition (Blue vinyl, limited to 500 copies) for the first time since 1985.

• Ghost of Tsushima: Music from Iki Island and Legends builds on the groundbreaking soundtrack to Ghost of Tsushima, the third-person adventure game by Sucker Punch Productions and published by Sony Interactive Entertainment. Featuring music by Chad Cannon and Bill Hemstapat, it includes selections from Ghost of Tsushima’s popular Iki Island and Legends expansions.

• The 2020 award-winning open-world video game, Ghost of Tsushima, follows the samurai Jin Sakai, who must protect Tsushima Island from invasion, defeat the ruthless Mongol invaders and protect what’s left of his home and people. As he embarks on an epic adventure for the freedom of Tsushima, he is forced to set aside samurai traditions and become a new kind of warrior.


• This vinyl release from composers Chad Cannon and Bill Hemstapat features 45 minutes of all new music written for the Ghost of Tsushima Director’s Cut. It contains 15 tracks, of which 10 are from Iki Island and 5 are from Legends.

• This release includes a black LP housed in a beautiful gatefold jacket with a folded insert.

• Chad Cannon has worked with several of the world’s best-loved film composers as arranger and orchestrator. As chief arranger for Studio Ghibli composer Joe Hisaishi since 2017, Chad has created large symphonic suites for Kiki’s Delivery Service, Castle in the Sky, and Spirited Away. His score to the Academy Award- winning Netflix documentary American Factory has been called “stirring” (NY Times) and “graceful” (Washington Post) and was nominated for a Cinema Eye Honors Award for Outstanding Original Score. The film is the first release by Barack and Michelle Obama’s Higher Ground Productions.
• Originally from Thailand, Bill Piyatut Hemstapat is a composer and record producer based in LA whose works have been featured in Video Games, TV and cinemas all over the world. Bill’s passion for video games music has led him to working at Sony PlayStation’s music department. Along with his most recent work re-imagining Shunsuke Kida’s iconic music of Demon’s Souls for the PS5 remake, he also contributed additional music and arrangements for Ghost of Tsushima as well as music editing for God of War, Days Gone and Hideo Kojima’s critically acclaimed Death Stranding.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

Great compilation of soul tracks that have been sampled by artists such as Massive Attack, Kendrick Lamar, Cypress Hill, and others.



















s D2. Marva Whitney - It's My Thing (You Can't Tell Me Who To Sock It To) [Album Version]

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

Emerging from the dark recesses of the Chicago and London underground, in 2000 Omni a.m. relocated to New York. This EP marked their first release in their new surroundings, it's an intense and highly sought after 4 tracker that showcases the duo's continuing originality and guile.

First up 'Smurfette's Big Night Out' is imaginative in it's approach, there's punchy beats and cascading percussion that drive the track along and really deliver the funk. Psychedelic acid touches interweave with haunting pads and a super deep b-line creates a chemistry like no other. Next is 'Buckshot' a more stripped back rolling affair. Undulating synths and swathes of infectious bass build the track throughout, whilst spacious analog delays and dub influenced sonic tricks abound. Over to the flip where 'I On U' is a wonderful floor friendly roller coaster of a ride, intro'd by a super phat kick, there's stuttering snares that jack and swing, whilst warm synths bubble and filter. Lastly 'Sick Sense' sets the controls for deep space, the bold throbbing bass makes it proper heads down groovin' affair, and the expertly programmed spoken word vocals interplay to add intrigue and atmosphere.

New York Sessions is a cherished release from the Omni a.m. catalogue, a classic where all 4 tracks ooze class and character. This EP has certainly stood the test of time and has been lovingly remastered by Curvepusher for today's discerning minds and dance floors, full support already coming from Raresh and SIT.

Famous present their first vinyl release, a double EP comprising their lauded 2021 EP The Valley on side A, and their equally acclaimed 2019 debut England on side B. The Valley is an intense, engrossing body of work from a band firmly stepping into their own space, foregoing the easy route, whilst interrogating themselves and everything around them. References to Soundcloud rap stand side-by-side with Greek Tragician Euripedes, along with the white noise of endless Simpson’s repeats colliding with daydreams of settling down and one day owning a gilet. It’s both complex and accessible, the sound of a silver-lining appearing from a dark cloud. England presents a distinctively hyperbolic, mythic re-imagination of urban life; using theatricality and the emotional authority of art to navigate the chaos of anxiety. The music is, nonetheless, thoughtful and surprising, as shown by the six self- contained yet interconnected tracks that make the whole. Opener ‘England 2’ is a rumbling call to arms that ushers in the haywire ‘Surf’s Up!’. The heart of the record is the two-punch of tainted-pop cut ‘Forever’ and the skittish paranoia of ‘Jack’s House’. All that remains is the expansive, circling ‘2004’ before the most tender moment ‘My Crumpet’ closes the show. Famous live shows are intense brash affairs. Alternating between the pathetic showmanship of Vegas-era Elvis and the controlled experimentations of post punk, the band has built a reputation as one of the best live acts on the London underground circuit. Playing shows with Black Midi, Sports Team, Jockstrap and supporting Black Country, New Road on their full UK tour, Famous has undeniably placed itself at the centre of that new generation of English bands. 2022 sees the band playing major festival dates and venues across Europe, alongside supporting Los Bitchos on tour in France, in April.

Widespine Jacket,Black Vinyl, Black Dust Sleeves, Marketing Sticker
Shottaz 4Eva (Deluxe) is an expansion to the posthumous album, Shottaz 4Eva, from Dallas-based rapper MO3. Fusing his harmonious vocals with an almost effortless flow, the late artist quickly cemented himself as rap royalty in his hometown and well beyond. Featuring appearances from rising star Morray and Derez De'Shon, the deluxe edition gifts fans with eight new tracks that illustrate MO3's exceptional talent that was taken from us too soon. The album includes the hit songs, "Outside (Better Days) (feat. OG Bobby Billions)," & "In My Blood (feat. Morray). Long Live MO3.

We can't think of many other performers like the singer/songwriter/dancer/actress Asha Puthli who have excelled in such a broad range of genres. From 60s psych, Classical Indian music, Free Jazz, Pop, Soul, Disco, to Rock, the list goes on. A 'best-of' or an 'essential collection' is always going to be a subjective thing, but for what is unbelievably the first official compilation covering the full breadth of Asha's illustrious career, we aimed to provide a snapshot into her ever-evolving musical journey and a tribute to the vast richness of her catalogue.

Some singers want to be famous, others are pop star icons, and some are artists; Asha is the latter. Asha is a true force of nature, regardless of the genre she explores, she fully commits, moves on, and reinvents herself, always progressing. Looking back on Asha's career, it is evident what a trail-blazer she was, opening doors for her contemporaries and those who came later to step through. Whether it was conscious or not, you can recognise Asha’s influence in aspects of Kate Bush's ethereal image and performance, in Donna Summer’s high-smooth vocal sound and disco stylings, and in the gumption and power of Grace Jones.

Kick-starting the compilation is ‘Pain’, the Indian psychedelic garage rock sounds of The Savages featuring Asha. We have to admit, we had to strongarm Asha into letting us include this track at first; also due to its rare nature (and lack of any master tapes) the recording we present here is raw and low-fi. However, we felt its inclusion was important to fully represent the journey of Asha's career, the same consideration was also applied to two of the Asha & The Surfers’ songs that we have included in this collection.

Asha saw a link between jazz and classical Indian music "the improvisation, the minor chords, the free form, the liberalness of the art" we showcase her love of jazz here with seminal works with the legendary Ornette Coleman, taken from the revered 'Science Fiction’ album. Asha's 'CBS years' are represented here, how could we not include 'Space Talk' on this collection, and how these years progressed into her amazing disco offerings such as 'I'm Gonna Dance' & 'Music Machine'. The bizarre 'We're Gonna Bury The Rock With The Roll Tonight' from 1980 has also won us over. A pseudo-50s throw-back song that sounds not un-similar to the post-modern, leftfield, pop of an MIA production to come years later. Rounding off the compilation we have Asha's interpretation of a Michael Jackson classic that sat lost on a cassette-only released in India.

MOVEMENTS Vol.11 – A bag full of rare rhythm & blues, mod-jazz, soul, and mid 70s funk.

Side A starts with rhythm & blues and jazz from the 1960s. The first three tracks were pulled from hopelessly obscure 7" singles. Macy & Company are responsible for the first 'aha' moment. Their version of "Sixteen Tons" would have certainly astouned even Tennessee Ernie Ford. A truely fantastic version indeed! "Snatchin' It Back" completes the first side with a furious bigband jazz cut.

Side B is all about mod-jazz. "Undun" is just like "Big Boy" a sure-shot for any dancefloor. Rare Groove DJs will have a lot of fun spinning these tunes in a club. Admittedly, the next one is a strange cut. "See How You Are" was recorded on a whim when they two composers were spontaneously pulled into a studio. High time for 'aha' effect #2. Many bands have tried their hands on a cover version of the Lee Morgan jazz classic, one of them being Mr. Palumbo. Listen closely to Dianne Elliott's contribution as it is a highlight for sure despite the fact von Frau Elliott.

Side C begins with 'aha' effect #3 and a fantastic cover version of Gerald Wilson's "Viva Tirado". "Blue Jamaica", is the second track on Movements 11 were a vibraphone is the lead instrument. "Bawana Jinde" is a wild, wailing blast of percussive instrumental explosion while "The Creeper" is the perfect choice to finish this side.

Side D is reserved for proper 1970s funk. The flip side of Reunion's sole 45rpm single was included on a previous Tramp compilation album. "A Brighter Day" has not been compiled yet. "Real Life", "Syrene" and "Breezy" are all prime examples how mid 70s funk has to sound . A dream for B-Boys and B-Girls.

Those of you who have been enjoying the detective work of the people behind the label over the past 18 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

It's been a long journey for Romain Bezzina aka Zero Netcost ever since 2002 when he discovered the band that would become his favorite of all time: The British duo Bent through the amazing track "Always" remixed by Ashley Beedle.

Twenty years later, the circle is complete with this compilation of remixes from all his idols including, of course, a beautiful atmospheric/downtempo remix from Bent, a cheeky mega drive mix from Simon Mills (one half of Bent), a chunky sunny remix from the legendary Ashley Beedle, and to complete this nice bunch of guys, a very nice sharp balearic remix from the amazing I:Cube. Enjoy!

Berlin producer Jack Tennis is the mastermind behind a lot of projects. He releases his own music under the name Hotlane (signed to Gomma Records) and spreads his Disco-Edits for UK’s influential Disco Label Midnight Riot (run by Yam Who!), Spa In Disco and Too Slow To Disco. He has an edit on every TSTD YACHT DISCO EDITS compilation so far, he was already part of TSTD EDITS 2 – Brasil with an edit, and last year he remixed SATIN JACKETS for TSTD NEO’s “The Sunset Manifesto” - compilation. The 4 tracks on this compilation are regular floor fillers in DJ Supermarkt’s DJ Sets, so it was time to give the ma proper vinyl release. Lots more to come!

This OST promises another exciting instalment in The Minions franchise. Produced by legendary Grammy-winning music producer Jack Antonoff and filled to the brim with a star-studded list of artists, the soundtrack celebrates a range of dazzling funk, disco and soul classics with brand-new versions of some of the biggest hits of the 1970s. From St. Vincent’snew take on Lipps Inc’s 1979 hit Funkytownand H.E.R.’s rendition of Sly and The Family Stone’s 1967 smash Dance to the Music, to Bleachers version of John Lennon’s 1970 track Instant Karma! and Phoebe Bridgers’ interpretation of The Carpenters’ 1972 single Goodbye To Love, every track has been reimagined by each artist with ingenious results. Set in the 1970s, Minions: The Rise of Gru tells the origin story of how Gru (Oscar nominee Steve Carell), the world’s greatest supervillain, first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assemble.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE OF GÖTZ TANGERDING'S BHAKTI JAZZ DEBUT ALBUM !!!

Born in Donauwörth, a small town in Bavaria in 1951, Götz Tangerding studied piano to concert level at the Leopold Mozart Conservatory in Augsburg. In the 1970s he started to make a name for himself on the local Munich jazz scene and traveled through East Europe with drummer Rudi Roth. In 1976 he came to New England Conservatory of Music in Boston to study compositions with George Russell and Jaki Byard with whom he played in the New York Big Band in 1978.

In 1980 he returned to Munich, Germany and founded his formation Bhakti Jazz as well his own record label Bhakti Records. "First Step", recorded at the Loft in Munich on May 1st and 2nd that same year, was the debut album and showcases the huge talent of the young and gifted band leader.

The two best known tracks are probably "Glimpses of Truth" and "Eastern Moods" which have been re-released back to back on 45RPM single by another german reissue label in the late 2000s. However, these are just two out of nine outstanding compositions from the prolific pianist to be found on this album. Tangerding's tasty style of playing, combined with the psychedelic maze created by his fellow band members on flute (Alan Ett), sax (Alan Ett again!), drums (Rudi Roth), and bass (Urs Hämmerli) plus Lisa Dawson's exotic vocal harmonies are sure grab your ear for a mind-blowing experience.

Götz Tangerding, who died much too young early in 1991, left us with dozens of wonderful compositons. "First Step" does not contain a single weak track. It's a true masterpiece and definitely one of the finest independent german jazz albums from the 1980s.

This is the first OFFICIAL RE-ISSUE - limited to 500 (HAND-STAMPED!) COPIES. The record is housed in a HIGH QUALITY TIP-ON record jacket and comes with a FULL ALBUM DOWNLOAD CODE.