quête:jus now

DJ TEETH’s Tremendo Recordings proudly presents its debut release, Orion. Rescued from DAT archives by Belgian-based Holographic Hallucination, the release revitalises a selection of rare or previously unreleased tracks from the early/mid-90s golden era.

The title track never made it to release, with just 200 promo copies made in ‘94, reflecting an eye-watering price and a high want list count on Discogs. Now, after years of relative obscurity, this release aims to introduce this sought-after work to a fresh audience. Orion is a 14-minute-plus journey of nostalgic arpeggiated baselines, coupled with mirroring in and out synth lines and swirls, creating an almost ominous mood.

First on the B-side ups the pace with an unreleased dub version of Rumble, a head-down, arms-up, feet-stomping raver track which was released on their label Holographic in ‘93.

The EP closes with an unreleased track produced that same year, Horizon, whirling through your ears and leading to feelings of transcendence.

During the early 1980s, “I Specialize In Love” by the American singer Sharon Brown, who happens to be the niece of the songwriter Phil Medley, gained popularity as a club hit. The track was officially released in March 1982 by the prominent Profile Records label based in New York City. Notably, the song marked the debut production of Eddie O Loughlin, who later went on to establish the renowned Next Plateau label. “I Specialize In Love” achieved a remarkable feat by spending three weeks at number two on the US Hot Dance Club Play chart. Its success extended globally as it also charted on the UK Singles Chart and secured a position in the Dutch Top 15, solidifying its status as an international club hit. Moving on from Ben Liebrand’s Classic Rework and his more club-oriented DJ Mix of the track, it’s now time to unleash the Ben Liebrand Le Disco Mixes. You just know from the filtered kick intro, and the funky, ass-shaking bassline to expect an awesome, authentic, disco-fied party jam for today: six and a half minutes of dancefloor delight. all other singles, extended versions only.

Theme: collaboration. Or how to remain creative in the modern world. Nanocluster started as a bespoke one off pop up gig that turned into an album series. Built around Colin Newman from acclaimed UK post-punk band Wire and his partner in life and sound Malka Spigel from Minimal Compact with various guests, they define collaboration. Colin met Malka when he produced her band in 1985.The collaboration started there. They became a couple and created their own projects like the instrumental electronic duo Immersion in 1994 and Githead in 2004 - spaces where they both 'feel really comfortable.' Growing out of Immersion, Nanocluster was birthed as a series of one-off gigs at the Rosehill in their new hometown of Brighton in 2017 with an added cast of influential and cutting edge musicians. These were not ad hoc jams. The songs had been written and rehearsed prior to each performance. This adventure led to a debut album, Nanocluster Vol 1, released in 2021 with Stereolab singer/guitarist Laetitia Sadier, German post-rock duo Tarwater, electronic musician Ulrich Schnauss and experimental artist Robin Rimbaud (Scanner). Released again as double 10 inch with each collaboration taking up each disc, the new album Nanocluster Vol 2 has further developed this idea with a stark beauty that sounds like a future pop with sleek lines and unexpected great melodies. Disc one is built around Thor Harris, the charismatic percussion player from Swans and many other projects, who they met and performed with at South By South West in Austin, Texas in 2023. Thor adds ideas, his tuned percussion instruments, clarinet and trumpet to the sessions. Disc two is built around Cubzoa (Jack Wolter from the band Penelope Isles) who brings his musical craft, beguiling voice, guitar and much more. Meanwhile Matt Schulz from Holy Fuck plays drums across both combinations helping the resulting music become a third entity. What results is a true collaboration that, enhanced via Immersion's production, merges its elements to develop a new harmony. Key to the process is Colin and Malka's radio show for Slack City radio, 'Swimming In Sound' with its entertainingly diverse playlist that has widened their horizons. It's also helped build relationships not only with these collaborators but also musicians like ambient country masters SUSS, with whom they plan an extended Nanocluster tour in the USA with in 2025 and Brighton via Falmouth's "jangly pop punk" Holiday Ghosts with whom they will perform the next Nanocluster event in their hometown, as well as many more in the pipeline. Malka: 'Nanocluster is collaboration but in a very specific form. We don't have rules. It's a series of creative snapshots. We start as the gig with our collaborators with tracks that we rehearse because this is not a jam and where it stops is an album.' Colin: 'It's chemistry & music. Malka & I operate as a team and now we've taken it to another level. Malka comes from a band where they would stand in a room together and work out the material. In Wire, I would present the songs, so when Malka and I first started working together, we had to find a third path, and that was the concept behind our collaboration.' Nanocluster Volume 2 is a 21st century collusion of shared ideas, creating a momentary extended musical family. It's about musical and personal relationships and the meeting place in the middle. A temporary band of house guests. The place where Immersion happens.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'.

For over a decade, Mako has been a distinctive presence, both as an individual and through his music, a talent we've proudly showcased at Metalheadz.



This September, we are honoured to release his third album on the label, and his second solo endeavour, which serves as a seamless continuation of his earlier work. His 2020 album, 'Oeuvre', represented years of dedication and refined production, solidifying Mako's esteemed place within the Metalheadz family.



Now, four years later, we're thrilled to present 'Oeuvre – Part 2'. This 12-track album is a celebration of Mako's deep passion for music, while also reflecting his sometimes disillusioned views on a modern era that often seems to pass us by. In a world where individuality can struggle to shine amidst an overwhelming flood of content, Mako's superior production stands out as a beacon, demanding not just recognition, but active listening.



Mako's commitment to his musical community is evident throughout the album, with contributions from long-time collaborators Fields, Hydro, Villem, and Mikal, each bringing their unique expertise to the project. The album also features a special collaboration with the late Marcus Intalex, a friendship that blossomed in the years before Marcus' untimely passing and one that continues to bear fruit.



Diving into the heart of the album reveals Mako's charm as a producer: from the captivating vocals in 'Feed You', the sleek homage to techstep in "Suspension', to the pure dancefloor energy of 'Direct Source', a track long favoured by Goldie. As expected, Mako also delivers deeper, more contemplative pieces like the album's opener 'True Expression' and the graceful melodies of 'Overshare'

Duncan Forbes returns to 49North with a super fresh sounding 4 track EP, all killer no filler !

First up is ‘Moods Shift And Flicker’ which eUortlessly fuses Duncan’s love of Detroit and dub techno with his love of Chicago house music and spoken word all underpinned by an infectious disco bass line. Following on and taking things up a level or two we are treated to the uplifting peak time monster that is ‘Time Is Now !’. Peak time melodic techno that will be just as at home in any large open-air space as it will in a dark basement. Third on the menu is Spectra, a no holes barred sonic battle weapon that will take you to the stars and back as it builds and builds. Desert is served up in the form of ‘I Wanna Know’ a solid 808 electro workout with one foot in the 80’s and the other somewhere in the future which asks the questions ....How Come The Quantum ? How Come The Universe ? ....... I Wanna Know !

Headquartered in a broader domain of Mixcult Records, Blackinstock Records focuses on the very first release with "Reel Phase EP" BLIS001, representing the most profound property of Mixcult Records' Black Gold Dub Techno. This great collection includes legendary Dub Techno maestro Federsen, plus the innovative minds of Yagya and Ohm.

Submerge in a sea of minimalism and sonic depth, where every single track is a journey in itself. "Reel Phase EP" is such music, emanating from the very heart of Dub Techno. A lot is vested in these expansive and immersive soundscapes, embracing highly detailed constructions. The spaciousness and depth of this release create an unrivalled listening experience, allowing for a deep dive into the pensive and genre-evolutive nature of this sophisticated kind of music.

Federsen, Yagya, and Ohm blend their different skills in masterly fashion, cooking up something timeless and forward-thinking. Each track is a stamp of class and introspection, hallmarks of the Blackinstock Records label, making this EP a must-have for any Dub Techno enthusiast.

Give a different feel to your collection with this genre-defining release. "Reel Phase EP" BLIS001 is not just music; it's an auditory journey to the very heart of Dub Techno. Make no mistake: this is your chance to get a share of musical evolution – get your copy now and dive into the deeper realm that Blackinstock Records holds in store.

2024 Repress

Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'Gute Luft' is the result of months of work scoring the hit German TV film 24h Berlin - the longest documentary film in history which featured 80 camera teams following the lives of berliners over a 24 hour period. Obviously a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. 'Gute Luft' is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, 'Gute Luft' is Fehlmann's ideal soundtrack to the 24h Berlin documentary.

“while scoring the film and subsequently shaping it into a album, i found myself questioning what holds it all together in Berlin. I figured that 'Air', the good old 'Berliner Luft', is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer far from his signature path of trailblazing the finer links of classic Detroit House and Techno with the submerged beauty of Berlin Dub. One will immediately recognize the classic scoring techniques Fehlmann brings to 'Gute Luft' - various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From Tunes From My Previous Albums In recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with 'Gute Luft'. A recreational album in every way in which he hopes will make you “Feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”. Well put Thomas!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.

The journey continues. Now, the second Want Some Record release will be the first album of The Mighty Cavaliers from Kenya. It's a bit unusual that it is not coming in the original order of release, but that's how I got my hands on both records.
Anyway, this record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality.
'Fisherman' was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand new cover design.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

2024 Repress

Deep Sleep Robot returns with another throwback excavating some of the rare finds. The second chapter of the series, a Various Artist four-track EP, timeless cuts from the archives.

The A-side, Ronin (aka. J. Axel) the man behind several albums on PlackTown Sounds, Plastic City and Driftwood brings us "Mysterious City", classic Ronin sound here folks this being one of the first releases by the artist back in 1998. Followed by Swedish producer Johan Bacto (aka. Johan Svensson) responsible for labels such as PlackTown Sounds, Everyday, Mankind, Zync, Countdown 2000, with his "Takemountain" the combination of these creates the reunion of the tracks previously released 24 years ago, sounds just as fresh now as it did back then.

The B-side Van Delta (Christopher Bleckmann & Hannes Wenner) a German duo in charge of EP's on Groove Attack Productions, M_Nus, Archipel, and Krush Grooves, gives us a nostalgic trip from 1999. "Adjust", with hypnotic keys and solid bass line building up the tension slowly but steadily creating the groove. The final track by Dav (aka. Davor Stosic) a Croatian artist B+Positive, Cove Recordings, and Sensei labels that regularly has been on Swag Records store shelves. "Flight", a fantastic example of late 90's tech-house. Hypnotic soundscape, variety of layers and a slow build up, giving the track an otherworldly feeling.

All tracks were produced between the years of 1998 - 2003, timeless and rarer then rare.
Order DSR002 now
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Darren Roach’s debut album lands on Limo! With its sights set squarely on the dancefloor, ‘Low Ranger’ may seem to have come out of nowhere, but to those who have been paying attention, his music has never stopped making an impact. Roach boasts a catalog of releases that begins in the ‘90s, and a few of these long-lost pearls resurface here, freshly mastered and ready to go.

The bulk of the album, however, consists of freshly crafted nuggets that will surely stand the test of time just the same. The album is a testament that truly good music doesn’t degrade over time, and the decades of quality behind ‘Low Ranger’ reveal a master of his craft.

Walker & Royce have released their highly-anticipated sophomore album No Big Deal out now via Dirtybird Records.

Embarking on a four-part mission to bring the party back to dance music, Walker & Royce have embraced the boisterous, unruly nature of their over-the-top signature to deliver 10 non-stop anthems. A highly collaborative body of work, No Big Deal features a colorful collection of characters including comedian/ musician Reggie Watts, Grammy-nominated and multi-platinum selling artist James Patterson (and 1/2 of the electronic duo The Knocks), peak-time queen VNSSA, Grammy-nominated vocalist Barney Bones, and more.

From the tongue-in-cheek lyricism of ‘I Don’t Remember’ and ‘Might Just’ to the overzealous charisma imparted on tracks like ‘Motivashun’ and ‘Fatalistic Groove’, No Big Deal boasts the sense of humor and lightheartedness that Walker & Royce have brought to countless dance floors throughout their career. The album is hallmarked by the kaleidoscopic elements of their dance music roots: catchy vocals, playful melodies, thumping basslines, and relentless four-on-the-floor percussion.

No Big Deal is a wondrous homage to the weird and wacky tropes that have distinguished Walker & Royce’s no-holds-barred style for more than a decade. An auditory yearbook cataloging Walker & Royce’s sonic inspirations from their early days in New York City’s 90s underground raves to the Dirtybird BBQs and Campouts where they found their home, No Big Deal is a victory lap for Walker & Royce as they cement their status as headliners and hitmakers.

No Big Deal is a reminder to enjoy the ‘Cheap Thrills’ that life presents, to ‘Get Down Down’ and adopt a motto like ‘Let’s Live It Up’.

2xLP, Gatefold Jacket, Picture Disc, cut at 45rpm. First pressing limited to 500 copies.

Mannequin Records is proud to present the official reissue of Caroline K's outstanding 1987 album, "Now Wait For Last Year."



This haunting, wistful work of post-industrial synthesizer music sees the late Nocturnal Emissions co-founder only solo record, which has accrued a fervent cult following over the past 40 years, and copies of the original pressing are today extremely rare and sought-after.

The music on "Now Wait For Last Year" seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Caroline K describes: from the sustained ambient tension of sidelong opener "The Happening World" to the future-primitive rhythms and stately piano flourishes "Animal Lattice", and the melancholic, deep-frozen synth sequences of "Cheart".



For fans of Throbbing Gristle, Chris Carter, Nocturnal Emissions and even early Detroit techno lovers should pay special attention to it.



All selections composed, arranged and played by Caroline K

Recorded and produced by Caroline K



Photograph by Jake Kirkwood

Original design by Nigel Ayers



The first five tracks of Now Wait For Last Year were originally released as a vinyl LP by Earthly Delights in 1987

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

Just a few months after the release of "Shine," his debut solo album featuring some of the finest R'n'B voices of the moment, Stefano Cosi presents his new single "That's On Point" on Angis Music, already home to the HUMA project of which he is part along with pianist Alberto Lincetto. The single, which boasts the important collaboration with UK soul legend Omar, was written and produced remotely during Covid, waiting for the right moment to be released. Now it seems that the moment has finally arrived and to complete the offer alongside the original version are two remixes by Abacus, prominent figure in the deep house scene since the '90s, plus a mid-tempo dub version by Italian talent Edoardo Della Bitta aka EDB. Don't miss out on this future classic!

Classic South African house / Kwaito album on vinyl for the first time.

Originally released on CD in 1995, this album which is associated with the birth of South African street music genre – ‘Kwaito’ and dance/dress style ‘Pantsula’ is now remastered for vinyl from the original tapes – resulting in the best sounding version of the recording to date.


Regarded as one of the earliest full length Kwaito albums, ‘Sigiya Ngengoma’ was released just one year into South Africa’s new democracy in 1995. Characterised by ‘mid-tempo’ beats, heavy bass hooks, adapted breakdancing and vocals in informal Zulu and other South African languages; ‘Sigiya Ngengoma’ would form a critical part of the South African street music movement that now has its own fashion, crews and dance style.

It helped post-democratic South Africa define its own musical identity and would pave the way for other Kwaito releases that ultimately led to the emergence of Amapiano years later.