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Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Teen of Denial: Joe’s Story is a freshly reimagined take on Car Seat Headrest’s beloved breakout, Teens of Denial, now celebrating its 10th anniversary.
On the original album, Toledo often used the name “Joe” as a pseudonym – a sly homage to Daniel Johnston. Revisiting Teens in the run-up to its 10th birthday, he felt called to give Joe a unique backstory and began tweaking the album to tell that tale. The group returned to the studio with Teens producer Steve Fisk to update accordingly – tweaking lyrics, revising arrangements, and recording new songs in the “Denial-style,” including ‘Optimistic Son” and the anthemic ‘Joe Drives Again’. The result retains Teens’ dark edge and youthful cynicism, but allows a bit of hard-won compassion into the mix.

From Will Toledo:
Sometime last year, it was suggested to me that we do something for the ten-year anniversary of ‘Teens of Denial,’ so I started looking back on the album to see what we might do. In spite of some of its songs being a regular part of my life for the past decade, it wasn’t a record I’d thought much about as a whole since it came out. Most of the songs I’d come up with over a two-year period at the end of my college days, when I was struggling a lot with cynicism and misplaced aggression. But by the time the songs were done, I was living in Washington, Car Seat Headrest was a full band with a record label, and in spite of the turmoil of the writing process, the final album was pretty enjoyable for everyone to work on.
This time, looking back at the songs, I started to feel like there was a story being told through the album, though I’d never imagined it as being a narrative work. On ‘Hi, How Are You?’ Daniel Johnston had used the name “Joe” in the titles of a few tracks –“No More Pushing Joe Around,” “Keep Punching Joe” – as a sort of joke, a stand-in for himself. I borrowed the idea, and the name, for titling songs on ‘Denial.’ This time, I started thinking - who is Joe? And how do the songs, in the way they’re sequenced on the album, reflect what he’s going through? As I started asking this question, a story emerged with startling wholeness and clarity, like finding the foundations of an ancient city while digging in my backyard. As I kept digging, certain songs from the original album fell by the wayside, as they seemed misplaced in this new context; others asked for new lyrics, to fully give birth to the story contained in the music.
The resulting work feels more like the album ‘Teens of Denial’ was meant to be. When you’re writing from a dark space, it’s hard to have perspective on where you’re at. This time, I could pull from memories of that darkness, and use the distance and additional perspective of ten years of life to shed a fuller light on the experience. Joe is a character going through some of what I experienced, and some of his own problems. Telling his story, and not just my own impressions of life at the end of the teen years, brought a new level of compassion and wholeness to the album. It gave us the opportunity to write new material in “Denial style”, embracing a snappy and simple(ish) rock aesthetic, and in an additional blessing, we were able to team up once with Steve Fisk, a joy and inspiration to get back into the studio with after ten years. We mixed the material at his house in Tacoma, and were constantly amazed at the lack of divide between past and present, as we’d punch in vocal overdubs ten years later into the same gear, hearing my voice now running alongside a 2015 Will. For someone coming across this album or this band for the first time, this is how they’d hear the record, not as a relic of the past but as a new piece. It was immensely rewarding to experience that on our side.

For anyone familiar with ‘Teens,’ comparisons with the original will be inevitable, but I do hope that as much as possible, people can come to this album on its own terms, approaching it as a teen, hearing the music and story for the first time. I believe music is an ongoing story, and albums don’t always do justice to its dynamic, ongoing nature. What gives it life is the new ears that hear it, and the new hearts that engage with it. I’m so grateful that this is a work that people have kept coming to, and I hope that this presentation does them honor with a fresh offering to the conversation. We’ve known that “it doesn’t have to be like this”; now we can wonder - “what it if were like this?”

Curren$y & Wiz Khalifa link up with Harry Fraud on Roofless Records For Drop Tops, the latest chapter in the rappers collaborative series. This Fraud-produced installment is considered Disc 2 in the series and follows up the Digital-Only 'Disc 1', which was produced by Cardo. Backed by Fraud's smooth production, Curren$y and Wiz deliver the laid-back flows, sharp lyricism, and effortless chemistry fans have come to expect. Built for cruising and easy listening, the project continues the sound and style that has made these three some of hip hop's most consistent names for a decade. Now available on vinyl, Roofless Records For Drop Tops is a must have for collectors and fans looking to add another essential release from Curren$y, Wiz Khalifa, and Harry Fraud to their shelves.

On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of

It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.

On Dummy’s new album, do you love the color of the sky?, the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like “Full Spectrum Dominance” and “Alluvial Fan” showcase the band’s tasteful pop sensibilities, while closing track “Heaven’s What You Make Of

It” features perhaps the strongest vocal delivery yet from vocalist/keyboardist
Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. Dummy has been praised in numerous outlets such as Paste, Stereogum, Aquarium Drunkard and Pitchfork, who described their second album, Free Energy, as “the
sound of a band turning all its potential energy into music that’s dazzlingly kinetic and powerful." The band has toured the US, UK, and EU extensively, with festival appearances at Austin Psych Fest, Treefort Music Festival, and others. In addition to larger outlets and festivals, the band’s strong ties to community and DIY ethos are ever-present, oftentimes preferring to play and connect with different local artists on tour, uplifting those around them while shining a light on the history of independent music.

Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.

Eine Italo Disco Rarität aus dem Jahre 1990 jetzt wieder als farbige 12“ Maxi Single erhältlich:
Susanne Meals - Forever

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und A.P. Mono.

Tomorrow’s World is the new album from synth-punk/darkwave artist N8NOFACE. Fully produced by Dave Sitek of TV on the Radio, the record also features contributions from Hudson Mohawke, Snow Wife, and Angélica Garcia.
On Tomorrow’s World, N8NOFACE pushes beyond the DIY spaces that formed him, delivering his most ambitious album yet: a collection of hard-as-nails songs that manage to be furiously catchy. In line with N8's cyberpunk aesthetic, Tomorrow's World's title comes from the 1960s British TV show of the same name about tech and science. N8 came across the show when he found a clip of Kraftwerk performing and breaking down their music on it, with Tomorrow's World being credited in breaking the band to a wider audience. In N8's words, the album sees him “imagining what the punks and the street kids might be listening to in 2077.”

More than eighty years ago in southwestern Virginia, Carter and Ralph Stanley (The Stanley Brothers) - forged a sound that became a cornerstone of bluegrass and old-time music yet they remain far less known outside the genre than their influence warrants Where the Soul Never Dies sets out to change that. Producers Alison Brown and Garry West assembled an eclectic cast spanning bluegrass and Americana, pairing the genre's next generation with roots voices who grew up on these songs. Standout contributors include Billy Strings , Dolly Parton , Willie Nelson , Sierra Ferrell , Jamey Johnson, Steve Martin, and Ralph Stanley II, among others. The album arrives October 16th two days before The Stanley Brothers' induction into the Country Music Hall of Fame

Forwards! moves roughly chronologically through moments in Brummie history; from the Lunar Society/Priestley Riots, through post war brutalist redevelopment, to the current era of apathy, strikes, mystery fires, and grifters stoking dangerously misguided "patriotism" The record grew from the band's view of the city as both a microcosm of the wider country, and testing ground for 200 years of unaccountable Westminster experimentation. The title itself is taken from the Birmingham's oft- derided civic motto. Throughout the record, fellow Birmingham punx Luxury Nan Smell take the role of The City Elders, providing backing vocals that interrupt, question or comment on the songs like a running director's commentary. Meanwhile, Bryn Bowen, whose CV stretches across numerous Birmingham bands of the 2000s, appears as The Lords of Change, a recurring voice embodying the landlords, lawmakers and civic powerbrokers who shape the city from above.

A genre- blurring statement born from bedrooms and late- night studio sessions, the album fuses live drums, analogue synths, samples, and dense percussion into something critics struggled to pin down - baggy grooves meet electro-pop meets rave culture. Originally designed as an extension of the band's unpredictable live shows, Harder Than It Should Be captures a rotating cast of collaborators and a core four-piece that expanded into an eight-member spectacle. Tracks like Atom Bomb City, Cut It Loose and the cult single These Boys Are Athletes (featuring Bis vocalist Manda Rin) earned radio play and industry buzz - yet the album itself was never formally released. Recovered from early recordings and demos, this reconstruction reflects the original intent: a high- energy journey mirroring the band's live intensity. A document of a moment when MySpace buzz, indie discos and electro experimentation collided in small venues and word-of-mouth scenes.

Marcus Gad, one of France's top reggae artists, hailing from the Pacific island of New Caledonia, returns with a powerful new album, FOR ALL Produced with his longtime collaborator Tamal, along with instrumental backing from his band Tribe, the record brings 12 new songs that continue Gad's thoughtful and catchy approach to modern reggae. Lush production, killer musicanship, along with modern vibes and riddims all make the album one of his best yet. Lyrically, Gad tackles many of the topics that have concerned him for years - liberty, equality, fighting against injustice and the problems of the world today.

THE EPIC RETURN TO MARS FROM RICK WAKEMAN A NEW PROGRESSIVE ROCK SUITE INSPIRED BY BOTH PAST & THE LATEST DISCOVERIES ON THE RED PLANET FEATURING LEE POMEROY, DAVE COLQUHOUN, ADAM FALKNER & MOLLIE MARRIOTT - RELEASED ON CD/BLU-RAY EDITION - INCLUDES CD OF THE STUDIO ALBUM + BLU-RAY DISC FEATURING DOLBY ATMOS, 5-1 SURROUND SOUND & HI-RES STEREO MIXES & THE MAKING OF THE 'RETURN TO THE RED PLANET' DOCUMENTARY + 20-PAGE PRINTED BOOKLET / CD EDITION / 2LP VINYL. Following his acclaimed 2020 album 'The Red Planet', Rick Wakeman makes a triumphant & inevitable return to Mars with 'Return To The Red Planet', a sweeping new progressive work that fuses science, imagination & musical virtuosity into one of the most ambitious recordings of his career

In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."

In their own words, it's "more focussed, paced and thought-out." Over 13 tracks that explore the horrors of the outside world and the internal minefield of the brain, Mould's debut also hits with the thrills of a brilliant live band who've distilled that energy to tape. The title comes from a line taken from the time signature-warping 'Emotive Language' that distills what it means to be a band in 2026 down to one concise sentiment. "This has always been the dream, playing with your mates and making good songs and getting to tour and make records," says Kane. "But the realities of trying to start a band now, when you're 30 and also have other goals at the same time are hard. We'd be doing it regardless, but you have to learn a lot. " This duality runs throughout the record, where tracks like lead single 'Float' speak of "strolling through hellscapes" of social media yet surround their frustrations with the sort of barbed, visceral musicality that sounds like if Interpol had grown up in gloomy, rain- soaked Britain. "You're endlessly doom scrolling, past a funny video of a sausage, and then there's Farage and then there's an ad for something," Joe says of the track. "That mindnumbing flashy distraction turns you into idiots."

An evolution of her radio show, event series and Bandcamp community under the same name, this compilation plots a globe-spanning day-into-night voyage across 16 tracks, from artists, countries and scenes that have shaped Jamz' musical worldview. Each track, many of which are exclusive to this comp, tells a story of heritage and roots, whilst pushing boundaries and pioneering new sounds in their respective regions. From the Reunion Island to Latin America, East Africa to the Caribbean and Pacific, it's a 24-hour cycle moving from downtempo to dancefloor. The concept of Dance Around The World began in the summer of 2025 but has ultimately been a part of Jamz' journey in music since the beginning. At the centre of it is her 15-year career as radio presenter - her tastes evolving from the early days on Reprezent Radio, to a 1Xtra residency and now a Saturday daytime show on BBC 6Music. There has always been a desire to highlight music from underrepresented scenes to new audiences.

Standing up for joy and pain and all the messy, confusing, beautiful details that make life worth living. Soulful and timeless, her songs tell stories of the heart, finding universal truths in the honesty of personal experience. Released on UK label Mr Bongo and College of Knowledge in Australia and New Zealand, Triumph & Sadness is her most profound album yet - a powerful and unique record inspired by a classic sweet soul sound and rooted in the contemporary moment. Reaching out with vulnerability and poise, it is a plea for connection in a world gone numb. Recorded over four fruitful days at an all- analogue studio in the stunning natural surroundings of rural Victoria (with additional sessions for horns vocals and overdubs at Sound Park in Northcote), Triumph & Sadness was cut directto-tape with all the urgency and warmth of the iconic '60s and '70s sessions that first inspired her. Written alongside Liam McGorry (Temporary Blessings), featuring collaborators from bands Surprise Chef and Karate Boogaloo and mixed by Daptone and The Womack Sisters collaborator Wayne Gordon, it captures the live energy of a band at the top of their game.

A defining electroclash anthem returns to wax. Tiga & Zyntherius's cult classic Sunglasses at Night gets the deluxe vinyl treatment, featuring the iconic original 12" mix that set dancefloors ablaze in the early 2000s-plus a thunderous rework by techno titan Chris Liebing, who injects it with deep, industrial muscle for the modern floor.

Whether you're chasing nostalgia or sonic intensity, this is a must-have release for collectors, selectors, and nocturnal creatures alike.

A new pandemic is making its way to you—from New York to Berlin. A bond destined to last for centuries, this release carries that same timeless energy.

Deep bass, hypnotic rhythms, and subtle percussion come together, pulling you deeper and deeper into the progression. A journey built on tension, movement, and atmosphere.

Feeling both familiar and forward-looking, MBK004 expands its reach with an international lineup of
producers united by a shared appreciation for the New York underground sound.
Crafted by Tunisian producer Gringow, our first two tracks take listeners to the darker side of minimal.
Also owner of the HeardOf label, Gringow lends his talent to Minimal Brooklyn with 15 minutes of
hypnotic rhythms. “Black is the new color” gives chills, while “My K” triggers introspection.
Flipping the record will bring listeners to a brighter space. We begin with Chilean DJ/producer
Francisco Ruíz-Tagle and his original track “Primal Depths”. Francisco introduces textures that have
been cultivated throughout his life. His submission to Minimal Brooklyn holds nothing back, delivering
a multidimensional auditory experience to listeners.

MBK004 ends with “Bean Water”, an original track from Chicago-based producer Double Dipp. This
spell-casting production truly highlights the attraction of minimal. Dynamic instrumentals with clean
resolution. This is Double Dipp’s formula for timelessness.

Nacho Marco goes deep on Colors in Dub Vol 2, heavy late-night house pressure straight outta Valencia, with Steve Bug flipping “Pitch Black” into a cold-blooded weapon for real heads only.

RAWAX welcomes Valerio Vaudano to the artist family!
We are very happy to present you this talented producer from Italy with two parts of "The Sampling Theory" on CHIWAX.
High energy House at it's best!
Highly recommended!

Selected by Lea Lisa, Many Shades Of House - Vol 2 is a reflection of time, movement and memory. Built from decades of digging, collecting and playing records, this new chapter captures the many emotional layers of house music.

From uplifting, groove-led moments to deeper, more obscure and cerebral territories. Each track has been chosen not only for its musical strength, but for the stories it carries: nights behind the decks, connections on the dancefloor, and the quiet influence these records have had along the way.

True to the spirit of the first volume, this selection celebrates diversity and timelessness without compromise. It is a tribute to the artists’ vision, to the culture that surrounds this music, and to the shared experience that continues to unite listeners, dancers and selectors across generations.

Golden Seconds has arrived — a brand-new Disco label brought to you by Johannes Albert. In the 1990s, Disco House records became dancefloor anthems, drawing on the nostalgia of disco's golden era while incorporating modern production techniques like sampling. Pioneered by influential producers like JohNick or DJ Sneak, Disco House revitalized the uplifting spirit of Disco while infusing it with the infectious rhythms of House Music. A young Johannes became addicted to this happy music in a heartbeat. Fast forward two decades, and he’s crafted his own updated take on the genre, guided by one simple philosophy:
"Sometimes all it takes to make a room go bang is a beat and a sample."
Golden Seconds Vol. II opens the vaults again and delivers a selection of tracks straight from the stash — timeless grooves, dancefloor heat, and that unmistakable disco glow.
Sexy cover included.

Portuguese musician and expert experimentalist Diogo steps up for Heion Records second outing. Diogo signs two originals for his Healiocentric EP, joined by a remix from legendary Wild Bunch selector and producer Milo Johnson, aka DJ Nature whose roots in New York’s late-80s underground shaped his raw blend of early house. The EP opens with "Healiocentric" unfolds as a deep atmospheric journey where modular synthesis meets live instrumentation and tuned percussion. Arpeggiated sequences glide through hovering brass-like tones and modulated pads with effortless positivity, riding a syncopated landscape of rim shots and broken beats.


"Traums" dives deeper into Diogo's intricately woven world. Monochordal spoken word samples drift sparingly across organic clicks and rich analogue textures, conjuring a jazz-like atmosphere that rewards careful listening. Lush pads echo the craft of artists like Two Lone Swordsmen or Ricardo Villalobos, but the steady thump of a 909 kick and a fluid bassline leave no doubt: this is a deep-of- night heater for the enlightened dance floor. DJ Nature closes the EP by taking "Healiocentric" on an inspired tangent into disco-techno territory. Acoustic beats anchor a minimalistic take on acid funk, while a near-naive piano line sets Chicago house against Berlin school repetition. Gated noise, field recordings, wah-wah electric piano pads and classic house organs complete the picture. Cannon fodder of the highest order.

*Import Exclusive*

Discover the world of Swiss artist Dominique Savioz. An anthology of self-released rarities, made between 1984 and 1997, that blend funk, synth-pop, and balearic vibes.

Limited pressing, comes with insert - carefully remastered, fully licensed, and including previously unreleased tracks.

A1, A3 Originally released on Jambo and Evasion Disques « Jambo » (EB 100 129)
A2 - Originally released on Dominique Savioz’s record «Intime»
A4 - Originally released on Dominique Savioz’s record «Nous sommes du soleil»
B1, B2, B3 - Previously unreleased

This Diggers Delights 09 is a LIMITED EDITION 45 - Hand numbered 45 !

Another Fun one from lads down under just in time for the sunshine and irie vibes in the south or penguin dancing in the north!!

Won't last!



Side A: J pulls out a rare Batucada sample and mashes it up into a Tropical party ting with a skank to match played on the keytar. Bringing a real party vibe to your crate. DD Drop it!

Side B: We bring back the badman! : The S-Man to release his classic mashup that is just so nice smooth and funky it will bring a vibe to any down moment.

Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.

At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.

Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.

Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.

Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.

For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.

Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).

An absolute, hard-charging funk hammer from the Dap-Kings - an incredible instrumental co-written and co-produced by Dapper Bosco Mann and Kenny Dope! If "Nervous Like Me" has a title that reflects some kind of apprehension, the track is anything but! It's simply pummeling - with a rhythm that kicks out from some stealth bongo and rolling trap that build into some playful guitar and bass response until the horns crash and boom! The beats on the flip isolate the funky drums, providing a sizzling beat track.

Esteemed soul crooner Sam Cooke achieved much in a short space of time, notching 29 top-40 singles in his seven-year solo career. On Night Beat, released in 1963, Rene Hall’s tasteful arrangements allow Cooke’s voice to shine, most notably on ‘Lost And Lookin’; jump blues standards ‘Shake Rattle And Roll’ and ‘Little Red Rooster’ are playfully rendered, with Billy Preston’s organ on the latter. Originals ‘Mean Old World’ and ‘Laughin’ And Clownin’ remind of his strong song-writing ability and his spirited take of ‘Nobody Knows The Trouble I’ve Seen’ recalled his days with the Soul Stirrers. A prime album for all Cooke fans!

Spiritual, intimate and revolutionary, yet firmly rooted in Brazil's folklore. Africadeus was the breakthrough album of the mighty Naná Vasconcelos, in which he discovered the berimbau to the world and took the instrument to a universal level, abstracting it from its original context of capoeira. Having played in the shadows for other artists such as Milton Nascimento, Gato Barbieri or Som Imaginario, Naná is here finally in the spotlight.

Recorded in 1973 in France for Pierre Barouh's Saravah label, this is the album that definitely imprinted Naná's name in the international scene, on his track to becoming one of the best percussionists of all times.

Immensely proud to offer a quality reissue of both his early 70s albums for the French label Saravah.

Africadeus comes in its original gatefold cover, and is available in standard black vinyl and a limited edition of 200 copies on red transparent vinyl.

The first Jet Set series is back in print and now repressed on colored vinyl. St. Louis producer Bonus Points scores high with Off Topic, an outstanding four-song EP for the Cold Busted label. With previous appearances on Chillhop Records, Sundae Sauuce, Horizon, and others, Bonus Points delivers a dazzling take on boom-bap beats and future funk. Bonus Points is a graphic designer by day and, in turn, his musical compositions reflect attention to color, form, and detail. These beats are visual. The release’s title cut opens things with a spacey intro before delving into some serious sunshine lounge vibes. A cool breeze wafts through these melodies. “Zoned Out” follows with a distant, romantic guitar and a lonesome, pensive feeling that’s perfect for seaside pondering. Next up is the old-timey jazz bop of “Coffee Lounge,” recalling the St. Louis swing of yesteryear over some phat beats. Off Topic closes with “Back And Forth

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster I Roy.

The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie’s greatest productions, including ‘Lorna’s Dance,’ a percussion and horns take of ‘Caught You In A Lie’, and a strings cut of the Heptones’ ‘Love Without Feeling.’

“Danny Elfman’s musical score was to die for, and
it was incorporated into ‘Wednesday’’s joyfully
bleak coming-of-age story so brilliantly.” -

 Double LP on Purple Goth with Smoky Shadow
vinyl, with full colour gatefold sleeve and inner
sleeves.
 Composed by four-time Oscar nominee, two-time
Emmy winner Danny Elfman (‘Milk’, ‘Big Fish’,
‘Men in Black’, ‘Good Will Hunting’, ‘Live from
Lincoln Center’, ‘Desperate Housewives’, ‘The
Simpsons’) and three-time Emmy nominee Chris
Bacon (‘The Tick’, ‘Bates Motel’, ‘Smash’,
‘Gnomeo & Juliet’, ‘Sherlock Gnomes’,
‘Immanence’).
 Elfman also composed music for Tim Burton’s
‘Beetlejuice’, ‘Batman and Batman Returns’, ‘The
Nightmare Before Christmas’, ‘Mars Attacks!’, ‘Big
Fish’ (for which Elfman earned one of his four
career Oscar nods) and ‘Alice in Wonderland’,
among others.
 Chris Bacon is a protege of the great James
Newton Howard, and won an HMMA for ‘Gnomeo
& Juliet’, which he shared with James and Bernie
Taupin (Elton John).
 Online - Promoted through all Lakeshore Records social
media.

Best Remixes is an album by Two Brothers On The 4th Floor, released in 2023. Best Remixes includes a.o. the following tracks: “Dreams 2016 (will Come Alive) (louis Bailar & Dimitris Kops”, “Dreams (will Come Alive) (twenty 4 Seven Remix)”, “Do You Know (where You're Going To) (ferry Corsten Remix)”, “The Sun Will Be Shining (ferry Corsten Remix)” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve dance 2-LP.

Premier release of the Never before released iconic, cult & paramount original holy grail soundtrack recording for the action packed partisansploitation movies and TV series - Otpisani and Povratak otpisanih (The written offs & The return of the written offs). This music composed by Milivoje Markovic and recorded in 1972 & 1976 represents the epitome for original Jazz Funk music recorded in ex-Yugoslavia. The series had people glued to their television screens awaiting for their own ‘Inglorious basterds’, the Belgrade guerilla group, to appear gunning down nazis by the hundreds - backed by an original deep funk soundtrack.