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2026 Repress

DJ Support: Louie Vega, Ralf Gum, Jihad Muhammad, Zepherin Saint, Mr. V, Doug Gomez DjPope, DJ Beloved & Brutha Basil to name a few.

Sean McCabe’s Good Vibrations Music label opens the vault doors for a peek inside some of its closely guarded & much-loved releases courtesy of this special limited edition 12 inch. Featuring 4 new to vinyl releases & including a raft of luminary names from across the soulful spectrum this is sure to be a be a hot fave with long standing fans of the label.

Glenn Underground’s Jazz-Funk fuelled rework of 'This Place' kicks things off and needs no introduction… heavily supported & much loved through the soulful circles & beyond with the likes of Louie Vega, Dave Lee, Jimpster, Jamie 3:26 & Fred Everything (to name a few!) all loudly banging the drum – people have been clamouring for this to be on vinyl. You spoke, we listened!

Up next is 'Modulate', a collaborative force of the highest order between Sean & long-time friend Black Sonix. Expertly fuzzying the lines across Deep, Soulful & House is somewhat of a speciality for the duo respectively and there’s bags of all 3 intertwined throughout alongside a hefty sprinkling of sun-kissed, Latino-inspired pianos.

'Still Standing Here' kicks things off on the B-side and begin in March 2022 as vocalist Madeeha recorded an accapella vocal idea in a phone voice message, quietly singing into her phone to avoid waking the neighbours. She sent the idea to drum & bass producer from Bristol, DJ Mixjah, who then approached friend Sean McCabe with the idea. Together they produced a hypnotic afro-tinged soulful backing track to fit with the voice message, with an intention to re-record it in a studio environment. Sean and Mixjah soon realised that the music they had created blended perfectly with the sincerity, intimacy & rawness of Madeeha's heartfelt performance in the original voice message and decided to stick with it. A firm fave for Atjazz, Crackazat , DJ Spen & Emmaculate.

Wrapping things up is 'You Don’t Know', a slick & energetic dancefloor bubbler from London based producer/DJ ‘David Bailey’ and Canadian soulful songstress ‘MissFly’. David Bailey is a firm favourite amongst the London house music community. He’s produced standout releases on labels such as Idris Elba's 7wallace, Makin Moves, Good Vibrations Music, Rhemi Music & Unquantize. MissFly is known for her soulful serenades and ability to write songs 'on the fly' in the studio. She has carved out an impressive discography on soulful house nuggets such as '1972,' 'Wanna Love You' and 'Thankful'

Another haul of hard hitting house gems from Duster Valentine’s debut album pressed to vinyl for the first time.

A love note to formative years in the ‘80s and early ‘90s, off his chops at The Haçienda and other legendary Manchester clubs, it’s a masterclass in demonstrating the flavours-within-a-theme that emerged from the Chi, 313, and NYC during that pivotal era, and would light the touch paper of a UK club revolution.

In Duster Valentine’s hands the sound is presented stripped to salient fundamentals, prizing the sound before it went commercial, ranging from sampler-knuckling garage-house stabbers thru haughty canter and plushest, pendulous grooves. He homes in hard on that point when hip hop and electro gave way to house in the Todd Terry-via-Pal Joey style jam »Getting’ Dub«, and gives a big salute to Chez N Trent’s rugged, chord-riding haughtiness via Levon Vincent in »Hit Me From Behind«.

»Strobelight Honnies« leans into the sound’s deepest ends with perfectly weighted bassline, cold drums and sublime string tension dubbed with hypnotic elegance, where »The KatG Chord« follows with shimmers of Anthony Shakir via Michael J Blood. Suffice it to say they’re all perlers and bang on the £ if you know what’s good.

You are Spring!" beginnt mit einer gewundenen Klangwand, A-cappella-Stimmen, die sich in üppiger Harmonie überlagern und den halb-titelsgebenden Frühling besingen. Sofort entführt uns Tasha aus dem tristen, grauen Winter in eine Welt voller Bilder und Empfindungen von neuem Leben. Stell dir vor: ein Feuerwerk aus glockenförmigen Blüten; Rosa, Citrin und Buttergelb; der Himmel klar, eine Lunge voll Blau; Wärme, überall, die die über den Winter geheilte Haut küsst und sich nach Berührung sehnt; Leichtigkeit nach dem Leiden; ein tiefer Atemzug nach dem Ersticken. "Don't die now / There's life to be found now,", beginnt sie. In Texten, die von Gwendolyn Brooks' Gedicht "To The Young Who Want To Die" inspiriert sind, formuliert Tasha die These dieses Albums mit exquisiter Präzision. Es gibt Jahreszeiten der Härte, Jahreszeiten der Schwierigkeit, ja. Aber hier, in diesem Album, meditieren wir über den Frühling über eine Zeit des Feierns, die umso süßer ist, weil wir wissen, was man ertragen muss, um dorthin zu gelangen. "Alive now / It's spring now / Alive now / You're spring now" schließt sie, getragen von den samtigen Stimmen von Jamila Woods und Taja Cheek von L'Rain, die auf diesem Track zu hören sind, und lädt uns in die paradiesische Schatzkiste ein, die sie hier geschaffen hat. Für Tasha ist der Frühling ein Ort, an dem wir ankommen, aber auch ein Zustand, in dem wir uns befinden, eine Art, wie wir geworden sind. Wenn sie darüber spricht, was das Album ihrer Hoffnung nach vermitteln soll, erläutert sie die Bedeutung von "You Are Spring!" weiter und sagt: Es ist eine Art zu sagen, dass du das bist, worauf sich andere Menschen freuen; du bist das, worauf wir warten; du bist das Schöne." Wenn es im vorherigen Album um Sehnsucht ging, darum, sich nach einer Fülle zu strecken, von der du weißt, dass sie kommt, dann ist "You are Spring!" eine Gelegenheit, innezuhalten und alles in dich aufzunehmen, sobald du in deine Fülle eingetreten bist. Das heißt, You Are Spring!" ist in seiner Aufmerksamkeit für die Glückseligkeit so eindringlich wie sein Ausrufezeichen, aber es hat auch einen klaren Blick auf die Welt um sich herum. Die zweite Hälfte des Albums bewegt sich auf diesem schmalen Grat zwischen Wonne und Untergang. Sieh dir zum Beispiel "Actor" an und seine Auseinandersetzung mit den Gesten, die wir in einer Liebe machen, die hohl geworden ist, gefolgt von Special" und seinem aufwendig arrangierten Klangteppich, komplett mit Tashas Klarinetten-Debüt. Im letzten Titel, Quick!", steigt Tashas Stimme in einer fast Stephen-Sondheim-artigen Tonfolge empor und drängt uns singend: "Quick! See how this beauty rushes by?" Es gibt Dissonanzen im Klimpern der Akkorde, das Keuchen ihrer Finger, die über den Gitarrenhals gleiten, eine raue, fast wie von einer Kassette klingende Qualität der Produktion, wieder von Gregory Uhlmann. Aber wir werden noch nicht aus dem Garten vertrieben; der Song klingt langsam aus, zurück in den Glockenblumenhain von Tashas sanftester Stimmlage. "You Are Spring!" fordert uns heraus, uns an unserer Gegenwart zu erfreuen, uns selbst als die lang ersehnte Jahreszeit des neuen Lebens und Wachstums zu sehen. Und wenn der Winter wiederkommt, wie er es immer tun muss, die Trauer sich einschleicht, Herzschmerz vor der Tür steht, gibt Tasha uns etwas, an dem wir uns festhalten können. Die Gewissheit, dass der Frühling wiederkommen wird, selbst dann. Dass die Schönheit und Fülle, die uns jetzt umgibt, uns wieder umgeben wird, noch einmal.

Widely regarded as Romeo's finest work, the album is a landmark of roots reggae, combining political commentary, Rastafarian themes and Perry's distinctive dub production style. Released on Island Records, the album reflects the social and political turmoil of mid-1970s Jamaica, addressing poverty, violence, and oppression.

The record features nine tracks, including some of Romeo's most enduring songs such as "One Step Forward," "War Ina Babylon," and "Chase the Devil,".

War Ina Babylon is often grouped with other Black Ark productions as part of a celebrated trio of reggae albums from the era, and it remains one of the most acclaimed and influential releases in the genre.

Mary Mundy born in 1944 is an underground soul and disco singer best known for her rare 1980 album Mother Nature.

Often referred to as "Dr. Mary Mundy," she is a cult figure among record collectors and DJs due to the scarcity and high quality of her work which blends heavy disco-soul grooves with powerful, soulful vocals.

Llewellyn "Lew" Hanson (1925–1984)

was a Jamaican-born writer, producer, and performer primarily active in Hartford, Connecticut. After serving in the Royal Air Force during the 1940s, he moved to the USA and established himself as a versatile figure in the Caribbean and soul music scenes.

Musical Career and Production

Hanson transitioned from performing traditional calypso with local bands to writing and producing more mainstream sounds in the 1960s.

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The Islanders: In 1974, he released the LP Just For You... From Home And Abroad with his group, Lew Hanson and The Islanders. The album featured a mix of styles, including the flute-funk track "Soul Safari".

Record Labels: He founded Insurance City Records and Big Street Records to release his productions.

Key Collaborations:

Mary Mundy: Hanson worked closely with Mundy throughout the 1970s and 80s, producing her singles and her LP Mother Nature.

REPRESSED !
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960's in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.

In 1983, 'Dance It Down/Jamaica Running' 12' EP was released on Moment Productions. Based on response from D.J.'s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of 'Dance It Down' came out of the studio as 'Dance In Dub', with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we've added two bonus European remixes from the 1984 12' of 'Dance It Down/Jamaica Running', released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP and featuring the never-before-released bonus track “Ease Up Now.” Newly remastered, this definitive edition includes the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum. Featuring fan favorites like “No Tears” and “I Seen a Man Die,” this platinum-certified classic is presented with upgraded audio and an expanded format, making it the most comprehensive edition to date.

The Diary by Scarface returns to vinyl for the first time since 2014, now expanded to a 2xLP for the very first time, including a previously unreleased B-Side!
Newly remastered, this definitive edition features the original 1994 artwork, carefully restored for vinyl by acclaimed designer Mr. Krum
Originally released October 18, 1994, The Diary debuted at No. 2 on the Billboard 200 albums chart, marking one of Scarface’s most commercially successful releases.

A1 – Natural Calamity – Vibeka
A2 – Jimetta Rose – Ebb & Flow
A3 – Dea Barandana – Licik (Tribute) (Love Injection Edit)

B1 – We Are Echo People – Bird Brain
B2 – Ensemble Entendu – Wasp Jam
B3 – Fatback – Is This The Future? (Disco Version)

C1 – Mind Fair – Hiding From My Shadow
C2 – Gigi Testa – Oriental Express

D1 – Gayance, Dal Bò – Liberation Lullaby
D2 – Kaoru Inoue presents Chari Chari – Tidal Wave
D3 – ICAN – Pa' Mi Gente

E1 – Angela Johnson – Inclusion (The Soul Feast Cosmic Arts Dub)
E2 – Jimi Tenor – The Duel

F1 – Antonio Ocasio – Love For The Loft
F2 – Ken Ishii ft. Metropolitan Harmonic Formulas – Can You Feel It

Slim Smith is high on the list of great singers that came out of Jamaica.
Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style.
Sadly he had a very short career but he produced a catalogue of music that still stands the test of time ,like all the great artists his story carries through the songs he left behind.
We have compiled some of his finest moments from his period working alongside the Hit Maker from Jamaica producer Bunny Lee...
A great set of tunes that we hope will keep his memory alive
Keep the Light Shining.....Respect

Vor zehn Jahren gründeten drei Mitarbeiter von JI's Market and Cafe die Band Styrofoam Winos. Lou Turner, Trevor Nikrant und Joe Kenkel fanden zueinander durch ihre gemeinsame Begeisterung für Bob Dylan, Patti Smith, Leonard Cohen und Country-Platten aus dem Schnäppchenkorb. Sie beflügelten sich gegenseitig in ihrer Begeisterung und waren total aus dem Häuschen bei jedem neuen Song, den sie entdeckten. Nachdem ein Freund weggezogen war und ein Schlagzeug zurückgelassen hatte, lernten alle drei Winos, Schlagzeug zu spielen. Die ersten Versuche im gemeinsamen Songwriting entstanden aus Jam-Sessions und Erasure Poetry, bei der man Wörter in alten Büchern schwärzte, um neue Gedichte zu schaffen. Sie sangen alle mal die Leadstimme und tauschten regelmäßig die Instrumente. Michael Hurley zum ersten Mal zu sehen, hinterließ einen bleibenden Eindruck und gab der Band einen ihrer kreativen Leitsterne. Jahre später gab Snock den Winos selbst seinen Segen, ihre Kassette mit Coverversionen seiner Songs zu veröffentlichen. Die Styrofoam Winos sind immer mit dem Strom geschwommen, was ,Any River" zu einem passenden Titel für ihr neues Album macht, dem Nachfolger von ,Real Time" aus dem Jahr 2024. Ihre spielerische Herangehensweise wird durch das Können erfahrener Musiker untermauert, die bereits viele hundert Konzerte gespielt haben - sowohl gemeinsam als auch als Tourmitglieder von Ryan Davis and the Roadhouse Band, MJ Lenderman and the Wind und als Solokünstler. Das ist eine ihrer größten Stärken, die man gar nicht hoch genug einschätzen kann: Sie sind extrem gute Musiker! Wenn drei talentierte Menschen eine so tiefe Chemie entwickeln, ist das Ergebnis einfach grandios. Jeder Song auf ,Any River" entstand aus Jam-Sessions in Turners und Nikrants Heimstudio, und schon bald folgte ein gemeinsames Google-Dokument mit den Texten. Sie nahmen in Louisville auf - ihr erstes Album außerhalb von Nashville - zusammen mit Roadhouse-Bandkollege und Equipment Pointed Ankh-Mastermind Jim Marlowe. Marlowes zurückhaltende Produktion brachte die einzigartige Synergie der Band voll zur Geltung. Das führt zu einem weiteren wesentlichen Punkt dieser Band. Es gelingt ihnen, eine perfekte Balance zwischen Ehrfurcht und Respektlosigkeit gegenüber den musikalischen Traditionen zu finden, in denen sie arbeiten. Ihr Wissen über den Kanon ist gelehrt, aber diesem Wissen folgt immer ein Augenzwinkern. Kein Moment auf der Platte verkörpert dies besser als das Trompetensolo in ,New Friend". Es ist eine geschickte Darbietung, aber die Art und Weise, wie Kenkel unter die Tonika absinkt, bevor er die letzten Noten des Solos auflöst, ist urkomisch. Bei Live-Auftritten spielt er das Solo Note für Note auf einer Kazoo, während er gleichzeitig Schlagzeug spielt. Diese Musik stammt von erfahrenen Verwandlungskünstlern, die sich einer einfachen Kategorisierung entziehen und dennoch sofort wiedererkennbar bleiben.

Am 14. Mai 1958 versammelte der Gitarrist Kenny Burrell im Manhattan Towers Studio in New York
sieben hochkarätige Musiker um sich, um im Stil einer lockeren Jamsession bluesige Originale, Balladen
und Standards für zwei Alben aufzunehmen. Während “Blue Lights, Volume 1” noch im selben Jahr von
Blue Note veröffentlicht wurde, erschien “Blue Lights, Volume 2” erst 1961. Das Cover ziert eine Illustration des damals noch relativ unbekannten Andy Warhol. Auf All About Jazz pries Marc Davis den “wirklich
demokratischen” Charakter dieser Jamsession und schrieb: “‘Blue Lights’ bietet eine wunderbare Mischung
aus bluesigen Stücken - daher auch der Titel des Albums - und traditionellem Bop-Spaß, darunter eine
ziemlich mitreißende Version von Duke Ellingtons ‘Caravan’.”

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

A blistering collection of non-stop Ska classic tunes featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire! This compilation features classic tracks from The Skatalites, Bob Marley & The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of newly independent Jamaica. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of some of the most important artists in the history of reggae music.

Strut Records presents a brand new reissue of the 1975 Brian Auger’s Oblivion Express original album Reinforcements. A gem from the later years of the Oblivion Express band, Reinforcements sees Auger evolve from his early ‘70s jazz-rock fusions towards smoother jazz funk sophistication, continuing his journey from the previous year’s Straight Ahead.
With two former Oblivion Express drummers joining Average White Band, there are obvious comparisons to draw as several tracks lean into groove-driven arrangements and polished mid-’70s production.Never one to follow a predictable path, Auger crafts a steadfast, stylish album that captures the evolving sound of the era, offering a rich snapshot of mid-’70s British soul and jazz-funk.

A fan favourite, the album also marks the return of vocalist Alex Ligertwood (later of Santana), whose soulful delivery is a highlight of many Oblivion Express recordings.
He is joined by Jack Mills (guitar), Lennox Langton (percussion), Dave Dowle (drums), and new addition Clive Chaman (bass, flute) – a family affair with their various kids joining for the cover shoot, the full cast adorned in an array of fine mid-‘70s tank tops.

Album highlights include the heavy funk instrumental jam ‘Brain Damage,’ a dynamic, keyboard-driven showcase of Auger’s virtuosity alongside the burning latin jazz workout ‘Something Out of Nothing’ and soaring closer ‘Future Pilot’ taking us from our present day troubles to “thread the skies to a new location.”
‘Big Yin’ is a heartfelt tribute to former drummer Robbie McIntosh following his untimely death. As with all Auger albums, the energy is nothing but positive and soulful – his back cover quote states “May the love you bring to this world be reflected upon you.”
This new Strut reissue of Reinforcements is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered from the original tapes by United Archiving’s Bill Smith, it is presented as a high-quality single LP replica edition.

Transparent gelbes Vinyl. IN THE TEMPLE präsentiert sich noch einmal abwechslungsreicher und kreativer als das Vorgängerwerk. Malerische Neo-Psych-Klangteppiche treffen auf eingängige 60s-Rocknummern und erzeugen vielschichtige Atmosphären zwischen Tiefe und Leichtigkeit. Die Band erweitert ihr Klangspektrum um aus Alltags- und Naturgeräuschen gestaltete Klangkulissen, die besonders die Jam Parts bereichern. Smokemaster liefern mit IN THE TEMPLE wieder einen bunten Blumenstrauß und beweisen auf charmante Weise, wie organisch sich die verschiedensten Ideen, Klangfarben und Emotionen in einer modernen Psych Rock-Platte miteinander verbinden lassen. Es gibt also viel zu entdecken. Die Band wünscht gute Reise.

Welcome to the ROCKSTEADY SOUND from Jamaica..

Towards the end of 1965 some say due to the extreme heatwave that was hitting the island, the people that followed the Sound System Dances demanded a slower beat so they could still move and groove to the all night musical affairs.

So sit back and enjoy the tunes that rocked the island between 1966-1968 the Rocksteady Sound that hit the town…..

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Freddie McGregor was born in Clarendon, Jamaica on June 27, 1956. At age seven, he started singing backup for a local ska harmony duo called The Clarendonians and did his first recordings aged 10 years with the name "Little Freddie" or "Young Freddie", and as a duo with Ernest Wilson aka "Freddie & Fitsy".

During the 1970s, McGregor was closely associated with the legendary Studio One label. He sang lead for groups like Generation Gap and Soul Syndicate, and also recorded off and on as a solo act during the '70s. In 1975, McGregor converted to Rastafarianism.

His debut album Mr. McGregor was released in 1979. The album opens with "We Got Love" featuring a Tower of Power influenced horn section underneath McGregor's tale of love conquering all. The classic "Rastaman Camp" combines muted horn and an earthy, Nyahbinghi-like chorus for one of producer Niney's deeper constructions, but the lightweight fare is equally welcome as the easy strolling and not too sugary version of "Brandy" displays.

Mr. McGregor is available as a limited numbered edition of 750 copies on orange vinyl.

Lifeforce is the 1985 sci-fi horror cult film directed by Tobe Hooper, responsible for the 1974 horror classic The Texas Chain Saw Massacre. Based on Colin Wilson's 1976 novel The Space Vampires, the film is about the remnants of a race of intergalactic vampires who are brought to London, where they soon begin to infect its population.

Legendary composer Henry Mancini has soundtracked this apocalyptic descent into chaos. He is widely regarded as one of the greatest composers in film history exemplified by his impressive trophy wall: he won four Oscars, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award. He is most famous for "Moon River" performed by Audrey Hepburn in Breakfast at Tiffany's and of course The Pink Panther.

James Horner was first asked to compose the score, but Mancini was brought in instead and crafted a piece of music both bombastic and ambient (and sometimes even atonal), employing the London Symphony Orchestra. Sit back and feel the fear...

The soundtrack of Lifeforce is available as a limited edition of 500 individually numbered copies on purple marble vinyl, and includes a 4-page booklet containing an alternate cover, film stills, and a fold-out movie poster replica.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

Following the massive success of their sophomore album Fading Forward, Les Imprimés, by popular demand, press two standout tracks from the album on the coveted 7" format. The A side, 'You & I,' is a feel-good, upbeat homage to the kind of love that endures "through the chaos and the blunders." Punchy drums and keys create an undeniable two-stepper for frontman Morten Martens' vocals to float above. Dreamers dream and dancers dance as Martens paints a picture of a devoted, understanding love that few are lucky enough to find. On the B side, Les Imprimés offer their take on the classic slow jam. 'Miss The Days' unfolds gradually, with slow pulsing drums and building instrumentation that evoke longing and nostalgia. Martens sings of simpler times impossible to forget-moments free of adult responsibilities, when "it was you and me, hand in hand, sometimes wasted_" Ama Li joins him on vocals, transforming the track into a killer modern take on the classic soul duet, a tune sure to resonate far and wide.

King Jammy–produced full-length debut from rising reggae songstress Aza Lineage, Rebel Daawta. Features appearances from Hi-Times Band, Jessie Royal, and Johnny Osbourne. Beautifully packaged in a full-colour sleeve.

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Written, recorded and produced by Coxon, it saw the musician explore a heavier, more punk sound than its predecessor across 10 tracks, including the song 'Ooochy Woochy'. The 12-track album also includes two covers, 'Fame and Fortune' and 'That's When I Reach For My Revolver' by American post-punk band Mission of Burma. The Golden D features original cover artwork by Graham Coxon. The Sky Is Too High and The Golden D are the first in a comprehensive reissue of Coxon's complete solo catalogue, spanning 9 studio albums and 2 soundtracks, to be released across the next 12 months.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

Editing is a specialist game that is easy to play but difficult to master. King Most is more adept than many, as he shows with a third outing here on his own KM label. This one finds him spreading his wings a little, flying away from r&b and hip-hop and migrating towards more worldly grooves with Afro and Latin undercurrents. 'Tony Trinidad' brings swirling guitar echo and coconut percussion to a crispy slow jam, then 'Hermanos Cub' pumps up the funk with blazing horns and vocals. There's lush polyrhythmic looseness and string melodies to 'Zimbabwe Thorn' and earthy disco charm to 'Bebe Cameroon' with its seductive vocal leads. Cultured cuts.

The Coyote-affiliated Magic Wand wafts its mercurial charm over a series of mega-useful and equally effective edits here. Robot 84 kicks off with a slow, cyborg-infused and digitally finished dub of a Prince classic and Ali Renault brings sugary synth charm to 'Indovina Key'. Bratley himself then steps up with the whacked out piano house of 'PNO', a slow jam with oversized impact. 'Song To The Hills' gets a Secret Soul Society mix that's infused with subtle psychedelic charm and fresh disco chug.4 new heavyweight reworks from Secret Soul Society, Robot 84, Ali Renault and Craig Bratley.

Get ready to move your feet as Charly Records, in association with Screenbound Pictures, announces the release of a special edition, 4-track vinyl EP celebrating the critically acclaimed documentary, Northern Soul Still Burning released on 15 May 2026. This highly collectible vinyl lands just as the film takes UK cinemas by storm this Spring.


A Piece of Soul History — This special edition vinyl is housed in an exclusive, stunning picture sleeve featuring an original photograph shot inside the legendary Wigan Casino in 1976 by celebrated British photographer Red Saunders. It is a visual and auditory time capsule that perfectly captures the sweat, speed, and style of the movement.

Critically Acclaimed Across the UK — earning a staggering string of 4-star reviews:

"Thumping celebration of the legendary underground club scene" ★★★★ Peter Bradshaw, The Guardian

"It really tells you what makes the scene so special... a really interesting bit of social history" ★★★★ James King, BBC Radio 2

“Watching the doc you get the sense that you kind of are there… it works really well” Mark Kermode, Kermode & Mayo’s Take

"Wonderful footage... a soundtrack that will keep your feet tapping, director Alan Byron has captured the energy and power" ★★★★ Dan Carrier, Camden New Journal

From The Times to The Daily Mirror, the consensus is unanimous: this film—and its soundtrack—is a passionate, joyous valentine to a youth culture that refuses to die.

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

Back to Titanic is the second soundtrack album released for the ultimate classic film Titanic. Composer James Horner created a new suite of light and dark music to represent "the soul” of his original score. The inspiration used in composing the original soundtrack formed the basis for the new pieces Horner developed for this album. It features a piano solo performed by James Horner in “The Portrait” and newly recorded suites by the London Symphony Orchestra and the Choristers of King's College.

The first highlight is the opening 19-minute suite, "Titanic Suite", which captures the essence of the film. The other major suite is the final track, titled “Epilogue - The Deep and Timeless Sea”. James Horner returns to the main Titanic theme in a subtle way, honoring the losses of the disaster.

The soundtrack of Back to Titanic is available as a limited edition of 1500 individually numbered copies on violet vinyl. The records are packaged in a deluxe sleeve finished with linen laminate and includes a 4-page booklet with liner notes by director James Cameron.

Oliver James aus Tennessee, eine Zeitkapsel des klassischen R&B-Sounds, kehrt zum Label Colemine zurück - mit zwei neuen Stücken auf einer unverzichtbaren 45er-Single. Auf der A-Seite ist sein erster neuer Track seit 2022 zu hören. ,1-2-3" ist ein mitreißender Soul-Stomper im Stil von Memphis und Stax. Nick DeVan und Vincent John (Eraserhood Sound) haben den Track gemeinsam geschrieben; sie haben die Instrumentalparts fertiggestellt, waren aber bei den Texten ratlos. Da wurde James hinzugezogen, und er nutzte seine Zeit bei der Arbeit in einer Kirche, um die Texte zu formulieren, aus denen schließlich dieser Song entstand. Die B-Seite entstand in Zusammenarbeit mit Nashvilles Gritty-Funk-Ensemble The Gripsweats. Es ist ein ernsthafter Song mit Texten, die von James' und DeVans Mitgefühl inspiriert sind. ,I'm no stranger to love that I used to know", klagt James; seine Lieblingszeile des Songs. Untermalt von üppigen Streicher- und Bläserarrangements ist ,Nothing Is Forever" ein melancholischer und herzlicher Gegenpol zur A-Seite.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

Soul Jazz Records’ ‘Calypso – Musical Poetry in the Caribbean’ was first issued in 2014 and has been out of print for nearly 10 years. On its release ‘Calypso’ was voted one of the year’s best 50 reissues in Rolling Stone magazine and received glowing reviews in Pitchfork, The Guardian, Songlines and many more. This new edition has been fully remastered and comes as a one-off limited-edition double vinyl pressing on translucent green vinyl, complete with bespoke inners featuring extensive sleevenotes, notes on all the artists and songs featured, and original artwork and photography. The album is also available in a new card-edition CD package, also with complete notes and text.

Featuring Lord Kitchener, The Mighty Viper, Count Zebra, Lord Flea, Lord Hummingbird, King Fighter, Lord Growler, Lord Byron, Lord Ivanhoe and other members of Calypso’s aristocracy and aristocrats, the album features the music of Calypso in its many styles. Calypso is one of the most exciting and enduring forms of musical expression that first emerged at the beginning of the 20th century – swinging, persuasive rhythms, brilliantly expressive melodies, and lyrics of great humour, wisdom and wit. Here you will find music from Trinidad, birthplace of Calypso, other Caribbean islands including Jamaica and the Bahamas, as well as sounds from the style’s subsequent onwards journey including Britain, Panama and the United States. Calypsonian songs play out a role in society similar to the storytelling Griots of West Africa (and the corresponding music of Kaiso); with their own tales about popular and incredible news items, modern life, local politics all mixed up with sexual innuendo, one-upmanship, comedy and more. At its source, Calypso is intricately and inextricably bound to the social history of Trinidad and its myriad of traditions, beliefs, folklore and fables. As the music spread around the world, both from the diaspora of many of its performers as well as its commercial success, the subjects of songs similarly took on local topics.The most notable singer of Calypso in England was the Trinidadian Lord Kitchener, who came to Britain in 1948 on HMS Empire Windrush, along with fellow Calypsonians Lord Beginner and Lord Woodbine.