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‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

The return of A Turntable Friend Records starts with an opulent 40 track retrospective compilation of their heydays in the 1909s. Peers of Sarah Records and Slumberland Records but far from copying their style, ATF Records always had their own musical identity allowing for a roster as diverse as Boyracer (with Even As We Speak), Secret Shine, The Claim, The Ropers, the Hellfire Sermons + Lorelei.

This compilation is a feast of highlights from the long-deleted back catalogue plus 8 unreleased tracks from the period. Many of the original 7s & 12s are much sought after collector items and several tracks appear on cd for the first time.
Indie guitar popof the best variety delivered by bands from the UK< USA, Australia + Japan.
The release is luxuriously packaged in a tri-fold sleeve for the triple vinyl, strictly limited to 500 for the world. It includes a 12 x 12 full colour booklet and a download code.
The double cd comes with the same tracks also in a gatefold sleeve with full colour booklet.
This compilation is a fundraiser for the William Wates Memorial Trust in the UK with all profits being donated.

LIMITED EDITION 500 ONLY COLOURED VINYL LP WITH DOWNLOAD CODE IN GLOSS FINISHED 350GSM BOARD SLEEVE

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Adapted Vinyl was a UK based techno label active in the late 90’s that picked up regular DJ support from taste makers of the time ranging from Jeff Mills to Mr C.

This, the label’s 7th record disappeared before a public release when the Integrale Muzique distribution company went out of business in 2008, but now gets its first official release date after years of very limited availability

Label founder Suade is the artist behind this release and these days he is best known as a highly-sought-after mastering engineer working for artists like Dense & Pika, Paranoid London, Jamie Jones and Vitalic.

Focusing his energies into family life and the fine tuning of other peoples music it’s rare to see Suade’s own music on a new release, but this hasn’t stopped him from collaborating on original tracks with the likes of Magda and Radioactive Man in recent years.

The EP has four contrasting tracks all with different moods and tempos all blended with Techno’s classic motoric drive.

With it’s absence from the usual music marketplaces creating something of a mystery this record ended up receiving a new, unofficial name on Discogs - The Citadel EP which is a title taken from the broken-beat second track on the B side of the record.

The Citadel is just one of the highlights on this eclectic EP, as it’s a Latronic Notron sequencer workout that patiently deploys layered synths in ever-shifting cross-rhythms for a languid 5 minutes before its deep, underpinning bass arrives evoking desert travel and arrival.

Baikal, named after the huge freshwater lake in Russia, is another stretched out meditation on tone and harmony acting as a foil to the delicate and vibrant Latin American percussion that filters in and out through a massive stereo Moog Modular system creating an energetic yet static, ritualistic atmosphere.

Trajan - the most driving track on the EP, gives a nod to the Probe era Richie Hawtin sound with a touch of Drexciyan melodics with shuffled percussion and bleeps over a snaking TB303 shaped bassline where the classic Acid box is given the role of control sequencer only commanding the thick, dirty oscillators of the big Moog.

A1 track Felix is a contrast yet again. A big room melodic Techno piece with another massive bassline and an almost orchestral level of layering, building to nine counter-melodies in total before letting rip with a classic TB303 acid line that builds from the heart of the track.

Mecanica Popular is back 9 years after their LP “Neguentropia” and 4 years after Dead Cert reissued their first LP “”Que Sucede Con El Tiempo”

Mecánica Popular is ’s an experimental and industrial band formed in the late 70s by Luis Delgado (Finis Africae, Ishinohana...) and Eugenio Muñoz (Randomize), who rapidly gained cult status between the genre fans. The band experienced a renovated international success after their record "Que Sucede Con El Tiempo" (1984) was repressed in 2015 in Andy Votel and Demdike Stare's Dead Cert imprint.

Arriving 9 years after “Neguentropia”, “Estridentismo” is the group’s fourth record and the product of new material that was developed over the last 3 years.

“Estridentismo” is based on the avant-garde movement of the same name that was born in Mexico during the early 1920s (known as Stridentism in English). Each track uses this lens to explore a different thematic concept, from “Jouer Avec Schaeffer,” based on musical pioneer Pierre Schaefer, to “Mikado,” which draws inspiration from the sounds of Mikado steam locomotives.

Following the sound of their previous releases while also introducing elements that reflect their continued evolution, “Estridentismo” is a record that owes as much to the Industrial movement as it does to the work of early electronic pioneers.

Mecánica’s inventive style, and their blending of older techniques like tape manipulation with newer digital technology, allows the record to incorporate Industrial and experimental aesthetics to create a sound that plays with categories and ultimately creates its own.

The record has received praise from the press and artist alike, and it has been played by the likes of JASSS, Demdike Stare, Cera Khin and Ossia.

“Estridentismo” comes in a luxury vinyl edition with a printed inner sleeve full of text and pictures.

Edition of 100 copies only.

Side A: 'Vodou'. Head priest: Gran Sèvitè Jean-Daniel Lafontant. Vodou priests: Oungan Eddy Saint-Jean and Anperè Jean Céus. Vodou priestesses: Manbo Françoise Célestin, Manbo Christine Lamour, Manbo Marie-Marthe Similien and Manbo Jacqueline Thélus. Other participants: Ounsi and members of Sosyete Na-Ri-VéH. Percussionists: Ountògi and the drummers of The Sacred Temple Na-Ri-VéH 777. Side B: 'Rara'. All-female rara band: Forever Rara Fanm of Belair.

Grand Rue recordings made by AMé in front of the Atis Rezistans, Port-au-Prince on 21 December 2015, 4:54pm to 5:18pm. Vodou ceremony and all-female rara band recorded by AMé at Temple Na-Ri-VéH 777 in Port-au-Prince, 16 December 2015, 9pm to 1am. Edited by Philip Marshall with AMé in Cologne, 16 May 2016. Mastered by Zachary James Watkins at Stank House, 3 August 2016. Artwork by Stefan Fähler. AD&D by Don Wyrm.

With thanks to: Ghetto Biennale, Leah Gordon, Atis Rezistans, Gabriel Toso, the priests and priestesses, the members of the all-female rara band, the percussionists, Clocktower Radio and all the Haitian People.

An introduction to Vodou music and Rara, by Gabriel Toso:

"Tanbou prete pa janm fè bon dans" ("A borrowed drum never makes good dancing")

"Music is to Vodou what water is to our bodies or fire to our hearts: all embracing, all inflaming. The spirits of Vodou are called upon and energised by the inexhaustible rhythms of Africa. Brought by the slaves to the New World, and merged with indigenous and European traditions, their magical power is the soundtrack of Vodou itself, its life-force.

Dancing, singing, praying are all fundamental aspects of Vodou; but above all it is the drumming that plays a major role during the ceremonies, an invitation to the lwas (gods) to join and partake in the rituals. Like the heartbeat of an infant in its mother's womb or the vibrations of our planet, the percussions of the tanbou (drum) are at once instrument and creator. Different batteries of drums correspond to different rites, countless rhythms to a multitude of nations of laws. The drum is not only a musical instrument but a sacred object, an expression of the divine. Its sound guides the initiates to their appointment with the spirit world.

Rara festivals are yearly celebrations that begin following Carnival during the Catholic Lent season, when the activity of the Vodou temples is at its quietest. During those six weeks Rara bands parade for miles playing music, dancing, and performing rituals for Afro-Haitian laws, while wearing specific costumes and using a variety of musical instruments. Probably originated in Haiti during the colonial period, Rara bands and their vast repertoire of songs are both politically and socially engaging while keeping an amusing, irreverent, and at times risqué personality. Traditionally connected with a Vodou temple, Rara bands leave the ceremonial spaces to interact in the public sphere through parading, thus reminding both participants and spectators of the physical presence of the lwas." – Gabriel Toso, London, 3 November.

This is some serious top shelf material out of Baltimore and a certified masterclass in sweet symphonic soul. Optimistics was originally released in 1970 on Turbo and it’s every bit as essential as The Chi-Lites, The Delfonics and The Moments yet nowhere near as known. Those original copies are ridiculously rare and, of course, the prices are equally ridiculous.

Optimistics is a killer LP throughout, beloved of discerning hip-hop producers worldwide and routinely championed by the legendary Pete Rock. The genius George Kerr has handled the production on what is an album of beautiful, naïve soul for mind and body. It’s bursting with goodness and, like the best of its genre, it radiates a heart-breaking ambience that cuts right to the core.

The band of Billy, Harold, James, Charles and Jerome are described on the back cover as “five young, black knights who have embarked on a musical crusade and they're gonna slay a lot of dragons along the way”. We’re not entirely sure how many mythical serpents were dispatched during the making of this album but we can certainly attest to the sense of evangelical drive.

Evergreen opener “You Put Something New In My Life” is a heart-stopping ode to a transformative love. A ballad with spine-tingling chord changes and melodic switch-ups to spare, its sweeping strings and precise drums complement the falsetto delivery perfectly.

It’s followed by the equally beguiling “Let’s Love”. Another string-drenched harmony ballad, it revolves around delicate piano and distinctive guitar lines, crying out to be recontextualised by the best sampling technicians. Closing out the A side, the wonderfully restrained “Love Is God Almighty” is harp and horn-driven, barely-there soul from a higher plain. Heavenly.

Ushering in the flipside, “Should I Let Myself Go”, sampled recently by Knxwledge, is sensational guitar-soul with a yearning that could bring the most hardened soul to tears. It’s followed by the uptempo, Temptations-funk of “Man” and quietly-great “If I Could Influence Man”, where the competing vocals ride a chugging, funky breakbeat and delicious guitar licks. The refreshing, groovy “Say It Baby” is an appropriately positive, upward looking closer. Its sentiment and feel speaks directly to both the band name and the title of this, their only album. Truly optimistic.

The whole LP is a winning blend of slow, spine-tingling ballads and joyously upbeat tracks. It’s a case of A+ vocals, melodies and harmonies over beautiful playing and arrangements. It deserves to be canonical.

This fresh reissue has been mastered with the usual care by Simon Francis and cut by the legendary Pete Norman. The artwork has been lovingly reproduced by the Be With team.

Optimistics should be known to a much wider audience. We’ve hopefully gone some way towards rectifying that.

One of the greatest enigmas of the music scene in mid to late 1970s Harare was The New Tutenkhamen, a band which played an eclectic brand of Zimbabwean township music combining
traditional rhythms and western influences. The band included some luminaries of Zimbabwean township music. Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. The New Tutenkhamen recorded I Wish You Were Mine at Teal Records, produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic Skokiaan, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the
heavyweight producing talents of Matema and the writing chops of Josamu, The New Tutenkhamen band created an album howcasing various musical styles popular at the time. From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother alcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz
exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war
Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines. As a collective effort, I Wish You Were Mine provides a fascinating insight into a fraught time in Zimbabwe’s history, and the bands plying their trade through the turmoil, making music for young people, by young people.

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

It’s been a busy eight months since Dampé’s debut on Dirt Crew Recordings. That time has seen the producer hold down monthly slots on Rinse FM, contribute a downtempo electronica/jazz edit to the S3A ‘Pages Remixes” EP as well as open big rooms for the likes of Surgeon and Blawan.

The intervening months have also seen the producer set up camp in the Rhythm Section studio in South East London, and the result of new access to studio gear can be heard all across ‘Garden’. Compared to the debut ‘Peach Shuffle’ this is a far more machine-led and darker listening experience. Snatches of acoustic instruments and space remain, but it’s never long before the disembodied vocals and oversaturated classic drum kits return reminding you this is music best enjoyed in the club.

‘A Basement, 10 Years Ago’ started just there. A bass line dimly recalled from a long-lost 6am jam is sequenced on a weighty analogue keyboard, while syrupy R&B vocals dance around mbira and gangsa, all slowly building and building together. ‘727 and Arp Breaks’ is a love letter to two of the producer’s favourite instruments from the studio. A TR-727 and an Arp Odyssey collide across dubbed out stabs to form some very rolling breaks.
Sunday Night Machines’ sees Dampé tame the box-of-physics that is the Arp Odyssey again with a sprawling meditation on two repeating arpeggios.

‘Garden’ is the one for the dancers. Four variations play with the same melodic theme in distinct sections, with the second variation being the deepest and most floor-ready the whole record gets. ‘France’ is a warped dub-come-hip hop beat that manages to conjure both Lil Jon and Yusef Lateef. We approached Liverpool’s finest ASOK (Lobster Theremin, M>O>S Delsin) for remix duties and to close out the record with a twisted bang. He turned in a propelling weapon that brings a whole new texture to the track listing. It’s very 90’s, very ravey and very raw, in a true IDM style.

With this eclectic mix of sounds we are entering another chapter of the Dirt Crew story and we hope you dig it as much as we do!

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

A testament to the growth of Adam Beyer’s scene-leading label, Drumcode annual A-Sides Vol.8 is the brand’s biggest yet.

The 25-track strong compilation, split across 7 EPs, features standout cuts Beyer has received over the last 12 months, but been unable to find room for in Drumcode’s regular release schedule, such is the volume and high standard of music that’s submitted.

Part 3 includes Will Clarke’s bass-drenched re-work of Adam Beyer & Bart Skils ‘Your Mind’, whilst Ramon Tapia unleashes the heavy hitting ‘Sonic Therapy’ and Nicole Moudaber drops her first DC release in 5 years with the mesmerizing ‘This Is Us’.

The highlight-rich compilation also includes Jamie Jones & Darius Syrossian’s buzzy Drumcode debut ‘The Grid’ and Joey Beltram’s first Drumcode release in 11 years with the retro-tinged ‘Can You Feel It’. The beloved Alan Fitzpatrick returns to the fold with the searing ‘Heiße Rakete’, while the exciting Hyperloop project links up with Upercent for the slinky loop-driven ‘Rouge’, alongside label mainstays Layton Giordani, who drops the stirring chord-driven ‘Chrome’ and Wehbba with ‘Mantra’, combining techno classicism with future-focused groove.

There’s a troupe of debutants donning the Drumcode jersey for the first time, including BEC, Shelley Johansson, Avision, Zimmz, Woo York, SAMA (in a terrific collaboration with Secret Cinema) and Ilija Djokovic, who delivers a shimmering highlight with ‘Aura’, a particular favourite of Beyer’s over the last year. Raxon also debuts on the label after a couple of quality additions to the Truesoul back catalogue.

Exciting young guns Weska and Juliet Fox bring heat to the compilation, while Veerus and Timmo follow up strong DC releases with a repeat dose. Elsewhere faithful contributors Jay Lumen, Luca Agnelli, Marco Bailey and Mark Reeve craft powerful dancefloor weapons.

Kerrie makes her debut for DBA with four tracks devised originally for her high impact live sets. Other than a cut on highly regarded London label I Love Acid's 10th anniversary comp Kerrie is a relative newcomer but the ten years she has put in honing her style immediately shine through in her music. The EP ranges from Before Calm's bug-eyed, angular swagger replete with a hair raising distorted hook, to Orb Weaver's peak time techno roll via Acid8 Slider which is one of the most original 303 tracks to come out of the UK in some time and Curveball, a bolshy electro leaning stepper.

Her influences range from current UK artists like Blawan to Japanese artists such as NHK yx Koyxen & Hiroaki Iizuka and pioneers like X101, Joey Beltram and Surgeon. The running thread in her taste is a penchant for high energy, raw banging grooves with a machine funk flavour, and a love of analog sound both as a producer and DJ. No doubt this stems from her time spent working at legendary Manchester shop Eastern Bloc Records where she joined in 2013 and has worked ever since. Honing her skills through her DJ residency for EBloc Kerrie has gone on to become a regularly booked act for the UKs most prestigious underground club nights. As a live performer she has also toured the UK since 2017 with the live show being met with high acclaim. Her live set for Freerotation 2019 has been one of the festival's most talked about debuts.

Featuring Prince Jazzbo, Dillinger, Dennis Alcapone, Lone Ranger, Michigan & Smiley and many more. Soul Jazz Records’ new Studio One DJ Party is the latest installation from the mighty Studio One Records catalogue, a wicked new collection of the finest DJs and toasters ever to inhabit the world of reggae – seminal Jamaican artists including Prince Jazzbo, Dillinger, Dennis Alcapone, Michigan & Smiley, Lone Ranger as well as a host of lesser known artists and rare cuts from Studio One. From the earliest days when Clement ‘Sir Coxsone’ Dodd ran his Downbeat soundsystem up and down the length of Jamaica, DJs and toasters such as King Stitt and Count Machukie were always a part of the sound of Studio One, introducing new records and exciting audiences with catchphrase lines such as: “No matter what the people say these sounds lead the way It's the order of the day from your boss deejay” King Stitt So when DJ emerged as a distinct reggae style at the start of the 1970s, Studio One was, as always, way ahead of their competitors. Legendary artists of the calibre of Dillinger, Dennis Alcapone and Prince Jazzbo all queued up to record for the equally legendary label. At the end of the 1970s, as dancehall exploded onto the island, Clement Dodd was once again able to maintain Studio One’s position on the throne as the number one sound in the Jamaica, fighting off upstart competitors such as Channel One and Joe Gibbs who tried to replicate Studio One’s unique sound. During this period Clement Dodd released a series of stunning dancehall releases from young DJ/dancehall artists at the label including Lone Ranger and Michigan & Smiley. This selection spans the early 70s up until the mid-1980s, from the earliest days of deejay toasting right up until digital dancehall, ground-breaking tracks over the finest selection of the ultimate Studio One rhythms and tracks. Who could ask for more? Studio One DJ Party includes specially commissioned sleevenotes by Chris Lane, founder of the legendary British reggae label Fashion Records, as well as fantastic original artwork commissioned by the illustrator Ski Williams. The album is released as double heavyweight vinyl (+download code), and distinctive Soul Jazz Records CD with slipcase

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

Emotional Rescue again delves in the world of private pressings, with a reissue of British electronic pop meets proto-House duo 4AM. With copies of their self titled album now highly sought after, this timely reissue presents two of their songs as a stand alone 7".

Consisting of multi-instrumentalist Steve Kirby - piano, guitar, bass, programming - and vocalist Kevin Finch, 4AM came together after youths filled with a love of music. Following a string of band attempts, Steve dived in to the world of midi, allowing him to build a studio set up and play solo. A meeting with new work colleague Kevin quickly developed to joining forces to expand on his early demos.

Their melodic, dance-influenced pop draws on a love of Japan, OMD and The The, but also ECM jazz and a touch of "white boy soul". The TR-808 drum and hi-hats, string stabs and random acid squelches - although no TR-303 was used - highlights the influence the nascent House sounds emanating from the "second summer of love" of 1988 / 89 had in their music melting pot.

Over this, personal lyrics flow, full of honest emotions and a touch of youthful naivety thrown in - of relationships, love, sex and passions. Intended as a personal artifact, the original album was released in 1990 with no promotion or live shows and has taken until now, some 30 years, to find a cult audience. I want you with a Passion.

Maroma was there long before the Moors. The Moors were there long before man landed on the moon half a century ago. Drum machines meant you didn’t have to take Ginger Baker our for a drink. Life takes on sublime logic. In retrospect, everything takes on a new meaning from a different perspective. The past is the future. From Glasgow to Edinburgh to Andalucia. This music is about a small journey, an aural triptych of sounds

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

Here we are with our 12th vinyl release. We're really proud of our back catalogue, and even prouder to be able to add more to it. And what better way to expand our portfolio than by inviting yet another exciting artist to join our 12" club. And this artist is Ricky Force - a man who's seen it all in the more breakbeat-oriented face of drum & bass, pushing his trademark intricate percussion programming since 1999, releasing quality music on labels such as Reinforced, Repertoire, Omni Music, Pinecone Moonshine, DSCI4 or 117, and now finding home with us.

Without further ado, here's Ricky Force and his latest single - a pair of not your usual 170-BPM masterpieces leaning heavier towards roots vibes, jungle, halfstep, and dub (Ricky's from DUBlin, so it makes total sense). "Ecstasy" starts with a looped vocal bit that leads the listener on towards a thick bush overgrown with full-bodied kicks, sharp, frantic breaks, and a bassline composed of massively booming bits that are bound to keep you on your toes, especially if you have the chance to enjoy it on some proper soundsystem.

"Firehouse Dub" is, in turn, a solid halfstepper strongly rooted in jungle revivalism. It marches slowly and steadily, unfolding some interesting stories on the way - a series of thickly-arranged broken beats, a pack of blares, some vocal bits here and there. Put together, they create an amazing mixture of classic sounds organized up to modern-day standards with surgical precision only Ricky Force is capable of. A true feast for all those into the less polished and more true-school shades of drum & bass.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

With their 2013 debut single "Vintage Voudou," Conjunto Papa Upa cemented themselves as the torchbearers of a rare breed of Afro-Caribbean psychedelic soul, a clear delineation from the wonderful world of Venezuelan poly rhythms. That original song, named after the short lived but heavily influential Amsterdam brick and mortar record shop that band leader Alex Figueira founded, was a perfect clue into the deep exploration that Papa Upa would begin to take on their musical journey. Like the store itself, known for its solid connection to the musical footprints put down in relatively undiscovered places like Suriname, Curacao, Cabo Verde, Portugal and of course Figueira's native Venezuela, Papa Upa has captured a sound that is entirely unique, a new concoction of influences that at once sound strange, yet totally familiar. Perhaps because Venezuela shared such a rich & diverse mix of sounds from the Atlantic, Caribbean & US, a kindred spirit to their neighboring country, Colombia, an equal in terms of their industry output from the 60's & 70's, yet not nearly as publicized and compiled in recent years. Like many places in the greater Afro-Caribbean nexus, they were musically ahead of their time.


This futuristic mélange of sounds is reflective of Papa Upa itself, made up of musicians from Venezuela, Uruguay, Cuba & The Netherlands, all living, practicing & recording at Figueira's Amsterdam studio, Barracão Sound. With such a wide range of tropical influences, in a cosmopolitan and diverse city like Amsterdam, it's no wonder that Papa Upa's first extended project would find kinship in a collaboration with New York's Names You Can Trust.


Their lead single for the label, a preview of an upcoming full-length project in 2020, features "El Secreto Del Metalero" & the 45-only bonus B-side, "Chicharrón Pelúo." Metalero, or "The Metalhead's Secret" is a fitting anecdote for Papa Upa, with Figueira's synthesized vocals leading the way. It's an allegorical exorcism of a debauched headbanger on a discreet dance floor of a tropical rave. The shedding of a gruff & gothic exterior for the buckle-to-buckle bliss of the changa. Similarly in the music itself, under the cloak of vintage synths and a woofer exploding bassline, lies a frenetic fusion of afro-latin percussion that is highlighted by the intense rhythms of Angola's giantguacharaca (or scraper), thedikanza. At its heart is a sugary sweetness that is capable of converting the roughest of rockers into a tropicalista on the dance floor.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

Alexander Pletnev started an entirely new journey under his own name two years ago. Release after release on forward thinking and respected labels like Media Fury, KUMP, Fleeting Wax, SZE and Hard Fist, he has built a solid discography of incredible diversity - from percussive DJ tools to viscous synthetic EBM to dreamy weirdness.

His latest EP titled Voranto Bros is a long awaited return to Le Temps Perdu and the prime example of refined musical storytelling. Title track is a cinematic tale, a sound novel about two migrant brothers hitting the shores of USA in the dawn of XXth century to became vicious gangsters, broken souls ruling the night of NYC. Dusty tape hiss, off kilter percussions and melodies all alternate to later sink under the weight of heavy drums. While Hope They Wont Come Back is a severe instrumental ballad with low drums, talking bass lines and noisy guitar riffs - five minutes inside confused man's mind.

On a remix front, Cocktail D'Amore's head honchos Discodromo strip Voranto Bros down to bear bones to deliver EBM style dance floor burner. And Harold Boué aka Abstraxion aka Lion's Drums of Biologic Records fame delivers menacing remix for Hope They Won't Come Back, a dark & mystic journey, which unwinds slowly and builds up to unexpected climax.

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

Brian Kage’s fourth release on Michigander Music “303 in the 313 EP” features 4 uniquely gritty and acid-soaked manifestations of mid 90’s Detroit. This exercise in analog monosynth mastery directly connects the grittiness of the urban landscape with the raw spirit of creative freedom.

Detroitasaurus starts the record off with a subtle prehistoric soundscape, steadily building rhythmic tension using hypnotic toms and melodic drum patterns. Razor sharp 909 hats hammer down there through the sonic mist as the journey continues to build. Shrieking jurassic trumpets cap off each of the peaking climbs to reveal metallic broken-down structures that are bound together with oscillating 303 threads and a grooving bassline.

Van Dyke Vessel features an atmosphere of textured percussion and metallic analog synths that wind around a deep square bass groove. Suddenly, truncated growling vocal samples start to collect into the catchy phrase “Let’s take this to outer space”. Swelling pads give way to squealing acid as this track transports dancers to a nostalgic melodic dimension.

Delray Dance undulates with thick bass slowly building into a body focused groove as it winds up and gives way to a rugged 303 saw with fluttering Spanish style synth stabs. Classic Detroit pads continue to swell, adding to the tension and leaving enough sonic space for melodic mixes in and out. This tune is the perfect tool to transition between genres.


Zonin breaks the mold by combining old-school electro vibes with a heavy dose of acid and freestyle hip hop. Heavy broken beats are combined with a rockin’ nostalgic bassline and layered party vocals that transports you to the center of the dancefloor on the best night you’ve ever had.

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

With previous releases including tracks from the likes of Agents of Time, JoeFarr, and raising talent R.O.S.H; plus support from from Djs like Laurent Garnier, who licensed one of the previously released tracks to his Tsugi 'Electro' mix (Francois V ‘Electro’ taken from Cod3QR001) Cod3QR’s profile is steadily growing as a label releasing quality music. With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues.
Head to their Instagram Page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002, 003 & 004!

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

For its 3rd releases, Nubiphone is proud to present you a compilation of the best early 7inch releases of the mythical Cameroonian band Los Camaroes.
10 raw tracks taken from various singles from 1968 to 1975, that present the musical diversity played by those seven young people: Bikutsi, Afro-Funk, Jerk, , Soukous, Rumba & Blues music. The band led by the charismatic lead vocal Messi Martin that managed to modernized Cameroonian music. Deluxe edition that includes an 8-pages booklet, with exclusive pictures, biography in both English and French languages, and a HQ digital download
card.

Marcus Fjellström's second album Gebrauchsmusik, initially released a decade and a half ago, is a bizarre sound document that deserves a closer look. Listening back to it now only re-confirms the unique mind of the Swedish composer, who sadly died in September 2017, only 37 years old.

"Gebrauchsmusik" is German for 'Utility Music', and his second excursion into post-classical experimentation is exactly that; thirteen tracks with each one written to suit a certain theme. War, art, festivity, sadness, death and resurrection are all interpreted by Fjellström in his unique style, taking a classical framework and distorting, confusing and manipulating them into far fetching scenarios that is only limited by ones own imagination.

Marcus worked with the Swedish Royal Ballet, the Scottish Chamber Orchestra and Sinfonietta Cracovia as well as numerous other orchestras, ensembles and soloists, artists and filmmakers. He spent the last half year of his life scoring the AMC series The Terror. In his works, Marcus often aimed to combine opposites so that they don’t contradict each other, but rather fuse into a natural, third element - “High” and “low” culture, the naïve and the sophisticated, good and bad taste. These are all elements that comfortably blend together in his works. Musical influences range from electronic acts such as Aphex Twin and Autechre to 20th century composers such as György Ligeti and John Cage. Further influences include impressionist composers Maurice Ravel and Claude Debussy as well as film music composers Bernard Herrmann, Angelo Badalamenti and Zdeněk Liška.

Vinyl edition ltd. to 300 copies, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

We've reached a pivotal moment for Local Talk.
What better way to celebrate a centenary of forward thinking releases than to present one of the best kept secrets out there, MLiR aka Modern Life Is Rubbish this time joined by Arnau Obios.

After making a serious impact with their remarkable 'Swedish Lo-Life' and 'Trans-World Junktion' releases on fellow Swedish label Studio Barnhus, we're thrilled to have them onboard for our 100th release on Local Talk.

Yes, that is correct, we’re celebrating the big 100. Since the very beginning we've covered everything from the deeper shades of house to the jackin' and the gritty club jams, released some slower BPMs and also the uplifting, vocal and organic house.
As you probably noticed - we love it all.

The 100th release main track 'Lajbans' is one of those sublime tunes that is bridging the gap between all styles of dance music and got the MLiR trademark, it's epic and manages to offer plenty of subtle details to keep you locked for the full 9 minute experience.
Accompanied with the original is a masterclass in dub 'Lajbans (Bellaterra dub)'.
You got the versatility of the original carefully stripped back but also absorbing layers upon layers of seductive sonic moods, it's a trip for sure and you don't want it to end.
Once again MLiR proves why they will be a force to be reckoned with for years to come...

Artwork by Leolyxxx
Mastered by Sasse at Blackhead Studios

DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC).

Be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time- on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia.

Also you gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork.

Be sure to get your hands on this limited peace of work before it's gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.

Smiling C collaborate with Bahamian super talent, F.J. to compile a selection of six lost tunes from his catalogue. Many of these are first time to vinyl. TIP!

Fritz Bootle, Jr. (F.J.) created a unique blend of reggae and RNB while living on the Grand Bahama island in the early 90's. Subtly inspired by the Compass Point balearic locus of the nearby island of New Providence, and locally by a flourishing scene of soca, reggae, and disco. He developed this sound to fill a gap he saw in popular music.

He was fortunate to marry into a family that gave him unlimited access to work in the legendary studio on Freeport, G.B.I. Recordings, run by Frank Penn. Always more of a passion project, he would come up with these in the evenings after work, finding a way to blend all his different influences (Bob Marley, George Duke, Teddy Riley, Journey...). Fooling around with Cubase he navigated his way to this magical deep bass sound and new jack style drum programming. "That's The Way" is the retrospective collection of the best moments from his Bahamas chapter.

Strangelove’s latest release turns left somewhere near the edge of the Atlantic, with Electricidade Estética” documenting a vibrant window into the musical landscape of 1980’s counter-culture Portugal. Compiling early un-issued works, DWART’s organic Ash-Ra Balearics meld with spikey Iberian electronics, coalescing around the floating beauty of ‘Mate’, reissued for the first time on vinyl. With emergent music technologies of the era enthusiastically adopted by Lisbon’s avante-garde, there was a collective desire by DWART and their contemporaries to push existing sonic boundaries;- Post new wave sounds melded with distinctive local sensibilities. Vítor Rua & Jorge Lima Barreto of the legendary Telectu (whom Antoñio currently tours with) were regular collaborators while composer/ guitarist Nuno Rebelo and guitarist/singer Bernardo Devlin feature throughout. Antoñio & Manuela Duarte’s search for an artistic language melded a continuing curiosity with aural and physical dualities: experimental pop integrated with performance art, mathematics sound-tracked on canvas, organic found sounds at ease alongside synthetic drum machines. The 9 songs found here document the early emergence of their own ‘Electricidade Estética’ (Big shouts to Invisible Cities & Steele Bonus- early champions of ‘Mate’) Vital Sales Points: Follow up to the labels previous releases - Frank Harris & Maria Marquez ‘Echoes’ and previous Portuguese release Lena d’Água ?- Jardim Zoológico

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….