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A double shot of Y2K digi thrillers from Sydney via Bromley electro-dub producer Jeff Dread. Part of the city’s burgeoning network of blunted bass and sound system culture, Dread worked in parallel with the likes of Sheriff Lindo, Andy Rantzen and Ali Omar, issuing two dynamite albums on Creative Vibes in 1999 and 2001.

Utilising the Atari 1020 Ste, Dread would frantically live mix up to 9 tracks direct to CD-R, echoing the same rough and ready low tech intuition as Jamaican trailblazers King Tubby, Scientist and Jack Ruby and their UK-based disciples Jah Shaka, Adrian Sherwood and Mad Professor. While unmarked discs of his indulgently durational sessions litter the archives, this plate showcases versions immortalised by two crucial compilation CDs. Wicked stepper ‘Dub The Farmer’s Daughter’ burrows the ear canal with its addictive melodica and tightly coiled acid synth lines, edited for high impact by Sheriff Lindo for his volume of Dub For the Masses (Dread would curate its successor), while ‘Out On A Limb’ hails from Just Is, a double album sequenced by legendary Sydney queer party crew Club Kooky. A bass bin creeper that was extended with horns for his second longplayer Return From Alpha One, it’s this unembellished work in progress that really stings.

With Dread’s allegiance to local sound system heavyweights Firehouse, these totally brained studio jams are tried and tested weapons, finally blasting on the sacred 7” format.

In 'Christmas Morning', a song recorded for the 10th edition of the Snowflakes Christmas Singles Club, California folk singer Annie Jay remembers how special Christmas mornings were to her as a child. It was a magical moment. When she got older, the mystery of Christmas slowly disappeared. But not everything is gone. There is still the gathering together with loved ones every Christmas. And there are still children who wake up on Christmas morning and feel the same excitement that she felt when she once felt as a child. Annie Jay sings it all in a soft and sweet voice that is very easy to fall in love with and accompanies herself with the instrument that she fell in love with: the banjo. ‘Blue Christmas’, the song on the B-side of the single, has been covered by thousands of other artists since first recorded in the late 1940s and especially since Elvis Presley recorded it for his 1957 Christmas album. It only takes Annie Jay two minutes to make the standard hers - as if Billy Hayes and Jay W. Johnson wrote ‘Blue Christmas’ with her banjo and her vocal harmonies in mind.

Annie Jay lives in Upland, California and grew up with the music of Kenny Loggins, James Taylor, Carol King and Fleetwood Mac. After first teaching herself to play ukulele and guitar, her life changed when she discovered the banjo. It was then that she decided to follow the path of music. It brought her a BA of Arts in Music from the University of La Verne and it made her travel to Europe to play her music. Annie Jay formed the folk duo Your Companies and debuted in 2016 with the solo album 'Love Is All Around'. Earlier in 2022, she released the 6-song EP 'Time And Space' and a split 7" with California indie act Eatpianokeys, to which she contributed the beautiful song 'Talking To Plants'.

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

Ultramarine & Anna Domino meet again for a reworking of their collaborative track '$10 Heel'.

The song originally appeared on the Ultramarine album Signals Into Space (Les Disques du Crépuscule, 2019). $10 Rework replaces the urgent, jittery rhythm of the original with a straighter House backbone and then proceeds to disassemble the structure with a pair of freestyle, hands-on-the-desk, on-the-fly dub mixes.

Anna Domino's stream-of-consciousness lyrics tell the impressionistic tale of post-club after-hours chaos in Times Square, NYC circa 1979. Anna raps off studio equipment brand names like passing neon signs glimpsed in a blur through a taxi cab window.

Iain Ballamy wields his saxophone like a graffiti artist with a spray can; scrawling and skronking across the canvas. Ric Elsworth lurks in a side alley, unraveling a trash can monologue of wild flamming bongos.

Ultramarine is the UK duo of Ian Cooper & Paul Hammond. Formed in 1989, their albums include Every Man and Woman is a Star (Rough Trade, 1991), United Kingdoms (w/ Robert Wyatt) (Blanco Y Negro, 1993) and Signals Into Space (w/ Anna Domino) (Les Disques du Crépuscule, 2019).

Anna Domino is an American musician based in LA and NY, best known for her classic run of releases on Belgian label Les Disques du Crépuscule in the 1980s and '90s.

Iain Ballamy is a composer and saxophonist; a member of the Loose Tubes collective in the 1980s and more recently with several albums to his name on ECM.

Ric Elsworth is UK-based percussionist and vibraphone player.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12 IN MY ARMS [REPRISE]

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12. IN MY ARMS [REPRISE]

Emotional Rescue finally gets around to reissuing some House music with the start of a 3 x 12 series from Miami's Dancefloor Records. Covering House and Freestyle, this is music as worthy as any other explored to date.Founded by British ex-pat Jeffery Collins in 1983, Dancefloor Records was the culmination of a music industry journeyman's long career from swinging sixties London to bohemian seventies NYC before relocating to the sunnier climbs of Miami.Taking in the City's unique mix of American, Latin and Caribbean sounds, Dancefloors early success came via a long association with reggae turned disco star King Sporty. While his legacy will be looked at in future, this series concentrates on Dancefloor's shift to the growing club sounds emanating from Chicago and NYC.First is the little is known Eighth Ray. As often the case, a project by a group of musician friends who went on to release under various pseudonyms. From the opening spoken word intro of Axis Of Love, the spaced-out 4/4 and spiritual, pulsing arps, this could be mistaken for the then in-vogue 'Italian House'. With Rimini in its sights, the vocals are the journey, underpinned by simple, up'n'back bass and Mateo and Matos style keys, pure 6am sunrise. Backed with the deeper 8th Ray, the EP eschews the bumpin' House then coming from NYC and looks to the sound system vibes out across the Atlantic. Deep House before the term had grabbed hold, been twisted and contorted and donned head-to-toe in black. Simply, real House music.

After a 2 year hiatus, Madam X's KAIZEN imprint comes back full force, with an upgraded aesthetic and brand new wave of leftfield, off-kilter club music. KZN009 sees one of Manchester's most exciting up & coming producers, Cartridge, mark his debut with a fierce 2 tracker, loaded with soundsystem pressure and gully 130 artillery in the Banada EP. Melodic Grime, moody Dubstep, and sub-heavy textures sprinkle this wobby release, designed for dark rooms, splintered basements and heavy soundsystems. With an impressive back catalogue on Deep Dark & Dangerous, Albion Collective & one half of Regents alongside Manchester kingpin Strategy (Broke'n'£nglish), Cartridge is no stranger to the UK's burgeoning bass music scene.

On the A side, we have Banada, a melodic eastern-flavoured instrumental, with elements of Grime and Dubstep carrying the tune to its arpeggiated crescendo.

A singing voice and raspy melody build the tension before a heavily distorted switch up catches you off guard, leading you further down a Dubstep rabbit hole, and into a world of shady and sinister drops, sitting perfectly alongside the label's strictly hoods-up, heads-down tip.

Teaming up with KAIZEN heavyweight and local scene hero Biome on the B-Side, Ricky Rosé has proved a firm favourite for those peak-time, no-holds-barred, bass-in-your-face, power hour moments. Relentless in its metallic bassline and thumping 808 drums, this explosive club tool comes with a solid side-serving of gunfingers and screwfaces.

Repressed !

We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.

Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinity the prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.

While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the world stage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel / nightclubs. As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.

This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.

Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

As the always-man-behind and mainly jack-of-all-trades he influenced a lot of art and style. For many of us he is like one of the greatest hidden icons on the spot. Scandinavian man of mystery, Jasper Frederik, is now doing it again musically.

After his acclaimed debut 'Beautiful' on A CLEAN CUT (e.g. #40 in Deutsche Club Charts DCC), he shows his prowess on his next song outing 'Universe', a kind of eclectic hypnosis as a never-ending track.

Years ago by leaving the causal circuit of Scandinavia after uncountable art & acting projects, collaborations, affections and residencies he started to reach his real destiny via stops in Germany, United Kingdom and the Bahamas: New York City.

The universe could be a better place, but, hey, there are a lot of things to do here on this planet, our world. Universe is here. Art is here. Love is here.

'Universe' is spotlighted with stunning and killer remixes by two highly influential artists and producers: Man-of-the-moment Captain Mustache (Bedrock, Permanent Vacation, Kompakt, Return To Disorder) and living legend DMX Krew (Rephlex, Breakin' Records). What a blast.

And directed by Clemens Wittkowski/bauhouse with I AM JOHANNES a touching video about inner feelings, the human universe, completes this really powerful package.

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Long time supporters of Kniteforce will be well aware of the truly amazing series, Remix Records & Kniteforce presents ‘The Remix’s’, and here we have Part 17! All the records in this series are insanely good and this EP does not disappoint. To start we have the mighty Bay B Kane taking one of Phuture Assassins newer tracks and turning it into an amazing jungle track, using the original vibe and cranking it up to the maximum with a proper early Bay B Kane style. Next is an absolutely mental remix from Heavy Systems Inc. of an already mental track! One of NRG’s most insane tracks gets the rough and raw treatment that HSI is known for, drawing on the underground sound of 1992. The action doesn’t stop on the other side either! The living legend that is Austin takes an already hugely popular track from Sunny & Deck Hussy and absolutely sprinkles it with awesome. This is Austin at his best, and it shows how he has not missed a step in 3 decades of music production. Rounding out this installment is The BradderCase remix of Stu Chapman’s Rude Boy. The duo of BradderCase, aka Paul Bradley and The Lowercase, took this Stu Chapman track and flipped it on its head. Extracting the energy from the original and lighting a fire under it, showing that hardcore can be fun and serious at the same time.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

”Omnium Gatherum” bietet mit seinen 16 Tracks ausweitläufigen Prog-Jams, schwindelerregenden PopNuggets, gummibeinigen Hip-Hop-Odysseen und reinen Thrash-Metal-Passagen sowohl für Gizzard-Fans als auch für Neulinge jede Menge Stoff zum Kauen.

Typischerweise verfolgen Gizzard-Alben ein einziges Thema oder einen Stil - zum Beispiel die Öko-Metal-Barrage von ”Infest The Rat’s Nest”, der New-AgeTrance-Pop von ”Butterfly 3000” oder die endlosen Garagen-Prog-Verrenkungen von ”Nonagon Infinity” -
ein Teil des Nervenkitzels von ”Omnium Gatherum” wiederum war für die Gruppe die Möglichkeit, neue Ideen zu entwickeln, ohne sich zu verpflichten, ein ganzes Album in dieser Richtung zu liefern.


Es ist der perfekte Einstiegspunkt für Neulinge und ein solider Leckerbissen für treue Fans. ”Omnium Gatherum” war als Kompendium unveröffentlichter Songs gedacht, die auf früheren GizzardAlben keinen Platz gefunden hatten, und schon bald schrieb und nahm die Gruppe neue Songs für das schnell wachsende Album auf. Die Tracks wurden im Gizz-Hauptquartier, aber auch in ihrem legendären, inzwischen verlassenen Clubhaus in der 253 Lygon Street aufgenommen.

Textlich sind die Themen vielfältig, doch die Sorge der Gruppe um das ökologische Wohlergehen des Planeten bleibt eine Konstante. Einige
Tracks kehren zu den Synthie-Psych-Visionen von ”Butterfly 3000” zurück, andere greifen die fiebrige Thrash-Metal-Attacke auf, die Gizzard auf dem 2019er Album ”Infest The Rat’s Nest” prägte.

DJ Scriby - Izingoma zeGqomu / DJ MARIIO - ZULU MAN / DJ Skothan – Nevegation. Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

Anyone that cut their metal teeth with The Big Four, and then dug a little deeper into the indie scene, should receive a major endorphin rush when they discover that speed and thrash masters RAZOR are about to release their first studio offering in 25 years. The album, Cycle of Contempt, is a direct, cutthroat record that pulls no punches and takes no prisoners. From the catchy, concise riffs and insistent beats of album opener “Flames of Hatred” to the double-barreled assault, muted power chord chugging and combative gang vocal of album closer “King Shit,” Cycle of Contempt is a trenchant reminder of a time when clubs around the world were packed with long-haired bands that played as fast as they could and mosh pits that spun and tumbled like clothes in a short-circuiting dryer. As energetic and exciting as Evil Invaders and as urgent and powerful as RAZOR’s 1989 speed-fest Violent Restitution, Cycle of Contempt showcases a band that never stopped spewing venom. “I tried to write songs that everybody could listen to and say, “Yeah, I know a guy who's done that to me or done this, or I know that situation. I can relate to that,” band founder Dave Carlo says. “And I didn’t want to make everything specifically about me because when you do that, you exclude people. I wanted to include everyone that’s ever felt pissed off about anything.” An unrelenting slab of old-school thrash that showcases RAZOR's encyclopedic knowledge of the past along with Carlo’s growth as a songwriter, player, and lyricist, Cycle of Contempt is here to show that RAZOR are as dominating as ever.

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”


King Britt “The Multi-Genre Maestro, Brian Auger is every producer and DJ’s secret weapon. A hero who deserves his flower now”

DJ Format “I have more Brian Auger records in my collection than any other British artist, which says more about my love of his music than words ever could"


FOR FANS OF:
Jimmy Smith, Aretha Franklin, The Spencer Davis
Group, Nina Simone, Georgie Fame, Traffic. Sly &
The Family Stone, Jimmy McGriff.

Am 16.09. erscheint eine neue, erweiterte Deluxe Edition von "Holidays In Eden", dem ursprünglich 1991 veröffentlichten Album von Marillion. Die neue Edition erscheint als 3CD/Blu-Ray-Buch und als 4LP-Set. Die Blu-Ray der Deluxe Edition enthält den brandneuen
2022 Stereo-Remix in 96/24 Stereo LPCM, DTS-HD Master Audio 5.1 und 96/24 5.1 LPCM sowie B-Seiten und Bonustracks wie die "The Moles Club"-Demos, aufgenommen nach dem langen Songwriting-Prozess der Band für das Album. Außerdem gibt es jede Menge
Video-Content, darunter eine ganz neue Doku, in der di Band über die Entstehungsgeschichte des Albums spricht, Promo-Videos in neuer HD-Qualität - und ein Live-Konzert, das damals im Rahmen der Reihe
"Rockpalast In Concert" im deutschen Fernsehen ausgestrahlt wurde. Außerdem gibt es jede Menge Video-Content, darunter eine ganz neue Doku, in der die Band über die Entstehungsgeschichte des Albums spricht, Promo-Videos in neuer HD-Qualität - und ein Live-Konzert, das damals im Rahmen der Reihe "Rockpalast In Concert" im deutschen Fernsehen ausgestrahlt wurde












l c2 Dry Land [4:40]

Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts. While his great-grandfather loved to give impromptu renditions of famous opera arias, his father's tastes were more modern and Matthieu's childhood was punctuated by the sounds of Eric Clapton, Bob Marley and the Stray Cats. At age 7, Matthieu began taking piano lessons, focussing predominantly on classical repertoire. In the 1990s he took his first steps into the music profession, singing in various punk and trip hop outfits, before pursuing his love of 1930s and 40s jazz. In early 2000, the young singer-pianist began playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination of 1950s R&B music, he issued Doo Wop in 2003. Sometimes on My Own (2007) is inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!!, an album featuring a blend of covers and his own originals, with full orchestra. Matthieu Boré has performed at festivals and concert venues in both France and around the world, including the Montreal Festival, the Jarasum Festival (Korea), the New Morning and the Olympia. In 2011, he released a live album recorded at Paris's iconic Duc des Lombards. Roots (2012) was a surprising cocktail - a strong dose of New Orleans funk, from with Matthieu draws his own nonchalant style, combined with a predilection for acoustic sounds and syncopated grooves. In 2015, grammy-nominated Leo Sidran produced Naked Songs which explores the idea of pearing back songs to their defining elements. In Gumbo Kings (2019), Matthieu pays tribute to Allen Toussaint and The Meters through twelve original songs whilst his most recent release Till The Morning Light(2022) combines Jamaican ska and 60's garage rock influences.

Jon K & Elle Andrews' MAL imprint returns with its second release - a long rumoured excursion from Equiknoxx skippers Gavin “Gavsborg” Blair and Jordan “Time Cow” Chung operating under the Gav & Jord masthead for the first time. It’s their most probing x tight set of productions thus far - showcasing that naturally wild rhythmic mutability that’s earned them followers in every corner of the experimental paradigm over the last few years.

‘Writings Ov Tomato’ ties off a loop between Equiknoxx and their early supporter Jon K, who was pivotal in bringing their productions to the attention of Sean Canty at DDS, who went on to release their by-now seminal ‘Bird Sound Power’ album a good half-decade ago. This new set of tracks came about after MAL urged to the duo to explore any under-excavated musical territory they’d been thinking about since they began to tour the world, and the result is this incredible, purely instrumental LP that romps between Autechrian mutations, avant R&B swangers, Jersey-style sluggers and proper, wig-flipping club missiles.

Who else would boot off a new LP with a track titled ‘Childish House Mafia’? The fact it sounds like Actress formulating an industrial noise tape using ritual chants just makes it all the more screwy. The title track returns the duo to more familiar ground, with prickly “Bird Sound Power” drums notched up a few BPM and spliced with whirring trap hats and disorienting synths. ‘A Yow Jon K’ is a Kingston-fried take on sun-bleached Miami electro, with a rolling beat filled out by Gav & Jord’s hard boiled soundboard x foley crunches, before ‘Pig Pilot’, the record’s most substantial cut, loops JBC Radiophonic Workshop convulsions around a booming 4/4 that wouldn’t sound completely out of place at Berghain’s Klubnacht. Saturating the hook and allowing ferric hats to fill in the gaps, the pair manage to fabricate a sound closer to 1970s library music than Villalobos, and we’d wager you ain’t ever heard owt like it.

Combine all this with lower-key slithering industrial-ambient moments like the plughole-wonked outro ‘Brent Bird’ (named after Gav’s producer brother), the tuned tinkle of ‘No Sweat in my Sweatpants’ and the airborne elegance of ‘Appinness’, and you’ve got another Equiknoxx joint that draws from the syncretic mosaic of Afro-Latin-Sino-US influences and re-contextualises them into remarkably odd and effective structures that dance in the integers of a myriad styles.

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

Stevie Ray Vaughan's 1983 debut album, Texas Flood, was a phenomenal success, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. The record plays like a dynamite club show, filled with crowd-pleasing originals and covers, all performed with unbridled enthusiasm. Texas Flood was certified gold on August 13, 1990, and certified platinum on January 22, 1992.

With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.

From a previous album dedicated exclusively to Soul music by the Roman producer Nerio Papik Poggi, this new project in the artistic name 'The Soultrend Orchestra' was born in 2017. The album titlereleased that year, '84 King Street', definied the musical genre to which it is dedicated. In fact, the address is that of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over the world by deejays David Mancuso and Larry Levan in the first place. So Soul and Disco are the predominance of this first album which has had great success in the sector so much so that the band has performed live in important European festivals.

This new album entitled Live For Funk starts from where the first left us musically to enter much more on the Funk sound, especially the English one of the early 80s and the American one linked to jazz musicians such as Donald Byrd or Roy Ayers who have been re-evaluated so much in the years starting from the Acid Jazz scene from the 90s onwards.

15 songs in total, including three covers, all three already released as digital singles. The three covers are remakes of cult songs from past
years in the Disco Funk world and exactly Get Down Saturday Night by Oliver Cheatham, Outstanding by the Gap Band and Act Like You
Know by the Fat Larry's Band. In the project Nerio Poggi brought with him his historical musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussion and Luca Trolli on drums. In addition to a dozen other guest musicians also 8 different singers among which the names of Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of Kaigo stand out

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

Soul icon Otis Redding made immeasurable contributions to the form. As a singer-

songwriter, producer, arranger and talent scout, Redding was responsible for some of the

music’s biggest and most lasting hits during the 1960s, though his death in an airplane crash

in 1967 brought his life and career to a tragically premature end. He was born Otis Redding

Junior in 1941 in the small town of Dawson, Georgia, the son of a sharecropper and preacher,

and moved to the city of Macon at the age of two, where he learned to sing at the Vineville

Baptist Church. After singing in the high school band, he performed weekly gospel songs on

radio station WIBB, winning local talent contests after being inspired by Little Richard and

Sam Cooke. Since his father became ill with tuberculosis, Redding began supporting the

family at the age of 15, working as a gas station attendant, a digger of water wells, and

occasionally by playing piano with pianist Gladys Williams at the Hillview Springs Social

Club. Then, in 1958, Redding had a repeat prize run at a talent contest held by broadcaster

Hamp Swain, bringing him first into a group called Pat T Cake and the Mighty Panthers, and

later into Little Richard’s band (during a time when Richard switched rock and roll for

gospel). Moving to Los Angeles in late 1960, debut single “She’s All Right” was issued on

the Trans World label (a subsidiary of Al Kavelin’s Lute Records), credited to The Shooters

featuring Otis; following the birth of their first child and his subsequent marriage to Zelma

Atwood, Redding recorded the popular “Shout Bamalam” for Macon’s Confederate Records

(who swiftly reissued it on the Orbit label since some radio stations objected to the original

label’s confederate flag logo, during a time of terrible racial segregation in the South).

Redding cut the movingly emotive “These Arms Of Mine” at Stax studios in Memphis in

1962, backed by Booker T and the MGs, which surfaced on the subsidiary Volt label in

October, reaching the charts some six months later (and eventually selling a reported 800,000

copies). Subsequent singles “What My Heart Needs” and “Pain In My Heart”/“Something Is

Worrying Me,” recorded in September 1963, formed the bulk of debut album, Pain In My

Heart, which was padded out by standard cover tunes of songs such as “I Need Your Lovin’,”

Ben E King’s “Stand By Me” and Little Richard’s “Lucille.” The album, which surfaced at

the start of 1964, reached the top 20 of the US R&B chart and also hit the Billboard Hot 100;

this edition has an alternate track listing that includes the Trans World debut single tracks

“She’s All Right” and “Getting’ Hip,” as well as “Mary Had A Little Lamb,” the B-side to

“That’s What My Heart Needs.” Carefully remastered, spinning at 45 rpm for enhanced qudio quality.

Sixteen arrives to the label straight from Detroit, by the owner of Vigilante Cartel - Dave P who is also known as Dirty Dave or Dirty Dave P, who has been releasing records since the early 90’s. This Electro & House infused 12’’ is made by the man together with his friend Rick Tuner and consists of 4 track journeys starting from the space and heading way beyond any known stratospheres known to mankind.

This record is very dear to these artists and to all the people who took part into making this project come to life. All aboard the “Saturn V” as it’s taking off into the wilderness of clubs & institutes of electronic music all over the world. The weather seems bright and the sky is clear, which makes it absolutely perfect conditions for the launch.

Helmed by Dave Watts aka D.WattsRiot (Fun-da-mental), the debut KingL Man album, ‘Headonix’ is beat-laden shout out in response to the perpetual state of war we seem to find ourselves at. Outrage and disgust, love and hate, history and presence.

Contributions come from four continents.

Fresh on the scene is Senegalese vocalist Sidi I.B., who arrived on Canarian shores with two hundred other compatriots, cold, wet and hungry after seven days at sea with nothing but his future in his hands.

Temporarily housed at the infamous migrant holding centre in Las Raíces, Tenerife, the studio environment provided an avenue of relief from the inadequate conditions at the overcrowded camp.

Also from Senegal, living in Santa Cruz de Tenerife, is rapper Ibrahima El Latigazo who delivers his lyrics in French, Wolof, Spanish, English & Sérère. Rounding up the Senegalese contingent is Mame Samba, a group that hold the spirits close when performing. Their contribution is from recording sessions they had with François R. Cambuzat & Gianna Greco (Putan Club / Ifriqiyya Electrique).

Kiki Hitomi (Waq Waq Kingdom/King Midas Sound) returns to the fold, exhaling positivity with Canarian multi-instrumentalist Javier Afonso (Grenouille). The Canarian faction also includes violinist Mónica Viñoly, Dani Garcia (Lagoss/Tupperwear) and Vakawuare. Further guests include percussionist Miroca Paris (Cesária Évora/Madonna); Hamid Mantu (TransGlobal Underground);
Ramjac (Dub Colossus), drums and percussion respectively.

Jan Delay hat im letzten Sommer zusammen mit der Disko No. 1 “Earth, Wind & Feiern” - die Platte für den Club in unserem Herzen - auf die Bühnen dieses Landes gebracht und die Show in Hamburg gleich mitaufgezeichnet. Daraus sind 18 dynamische Live-Tracks voller Bass und Bumms entstanden, die zusammen mit den zwei neuen Studio-Songs „Der Bass & die Gang“ und „Alles gut“ die positiven Vibes zurück in unsere Herzen tragen.

Wie immer bei Jan Delay schöpft “Earth, Wind & Feiern” aus fünf Jahrzehnten Popgeschichte. Vor allem aber spielt die Platte im Hier und Jetzt. In ihr stecken Burna Boy und Stefflon Don, Daft Punk und
Drake, Sly & Robbie und Meek Mill. Es gibt Afrobeats, Disco, Trap und Ska, sogar Stadiontechno und LatinX-Riddims.

“Earth, Wind & Feiern – Live aus dem Hamburger Hafen” ist voll Seele und Bounce und positiver Energie. Denn so bedrückend und komplex die Welt manchmal auch scheinen mag: Ein paar simple Wahrheiten werden nie von ihrer Gültigkeit verlieren. Wenn Hass herrscht, hilft Liebe ganz bestimmt. Und das Wichtigste ist, dass das Feuer nicht aufhört zu brennen. Jan Delay ist wieder zurück, um es am Lodern zu halten.

Das Album erscheint als 2CD im Digipack (Studioalbum inkl. 2 neuer Songs, Live-Album) sowie als schwarze 2LP inkl. magenta 7inch (Live-Album, 2 neue Stuidotracks auf 7inch).

''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

Am Freitag, den 13. Mai gilt es erneut die Tanzschuhe auszupacken: Florence + The Machine veröffentlichen ihr neues Album „Dance Fever“!

Mit 14 brandneuen Songs wirbelt Frontsängerin Florence Welch sich in die Ohren und Herzen von Fans und erkundet in dem Album die pandemiebedingte Sehnsucht nach dem kollektiven Miteinander in Clubs und Festivals, gesellschaftliche Stereotypen und dem Tanzen. Das historische Phänomen der „Choreomanie“, auch bekannt als „Tanzwut“, in welcher sich große Menschenmengen im Spätmittelalter bis zur Erschöpfung oder gar zum Tode dem Tanz hingaben war eine besondere Inspiration für die Frontfrau, die aufgrund der Pandemie mal einen heißersehnte und dann doch schreckliche Pause im ordentlich gefüllten Touring-Kalender erdulden musste.

Weiter inspiriert von Horrorfilmen wie „The Wicker Man“, „The Witch“ und „Midsommar“, sowie düsteren Gothic Fiction-Texten erschuf sie zusammen mit der Regisseurin Autumn de Wilde eine magische, nahezu ekstasische Welt.

Das Album wurde produziert von dem sechsfachen GRAMMY Gewinner Jack Antonoff (Bleachers), Dave Bayley (Glass Animals) der zuletzt mit „Heat Waves“ die deutschen Charts eroberte und Florence selbst. „Dance Fever“ erscheint als CD, Deluxe CD und 2LP.

Vega Records is proud to present its newest release “Time To Let Go” with Mike Lindup, singer, keyboard player composer and founder member of the legendary band Level 42. Formed in 1980 with Mark King, Phil and Boon Gould, the band has sold over 30 million albums and still performing worldwide. Mike Lindup has performed onstage with many artists including George Harrison, Eric Clapton, Ringo Star, Sting, and more. Even on theater stages in London’s West End, Mike Lindup has played on shows Thriller Live, Let It Be, and has completed four tours on the Thriller Live tour production, twice as Musical Director. “Time To Let Go” is taken from the new Mike Lindup album “Changes 2” with smokin’ remixes by Two Soul Fusion AKA Louie Vega & Josh Milan. The Remixers deliver two versions, one taking you to the soul house funky grooves of Two Soul Fusion and the other catapulting you into the world of Afro House. It’s all about Mike Lindup’s unique voice and his powerful, brilliant lyrics that make a huge statement well needed in the world today. Grooves to make you dance are no problem for Two Soul Fusion but when you have award winning lyrics its a whole other level here. The man who sang the lead vocal on New York City’s favorite dance club culture classic “Starchild” by Level 42 has now blessed Vega Records with the new gem “Time To Let Go”.

Ex RSD LP on transparent red vinyl, gatefold sleeve with lyric inner sleeve and DL card. Final copies now reduced to £7.99. The tracks on this album have never been officially released before now. The eight songs on this album were recorded in 1978 on a 2-track stereo Revox A77 tape recorder. The recordings are unashamedly analogue, using one microphone and guitars plugged directly into the tape recorder. Bouncing down tracks irreversibly as they went on, forced to make creative decisions that could not be undone. Some hard choices had to be made with the mix, but with no record company meant no record company agenda. TV Smith & Richard Strange could write and record whatever they wanted – and did! It has been an enormous pleasure to rediscover these recordings, the result of a friendship of two artists emerging from broken bands and each about to embark on a lifelong adventure in words and music. TV SMITH - I wasn’t having a lot of fun in 1978 when Richard asked me to collaborate on a song he was writing called “Summer Fun.” I was in the final stages of songwriting for the second Adverts album “Cast Of Thousands,” a project that already seemed doomed to failure given an unenthusiastic record company, a band in the throes of falling apart, and a dwindling audience - but my creative juices were in full flow and I was ready for something different. I already knew Richard, of course, from the Doctors Of Madness, who I’d followed in the years before punk when I was still living in Devon and they were one of the few bands to come and play in the area. I considered them a warped poetic glam band with gothic leanings, and was slightly surprised when the song I’d been invited to work on turned out to be a kind of California surf pastiche. But I was game to get involved, and after we’d finished it and ventured forward with regular writing and recording sessions over the following weeks it soon became clear that “Summer Fun” was just a gateway drug, and the songs that were emerging from our combined forces were going to quickly become much deeper and much darker // RICHARD STRANGE - Watching the remnants of a musical dream being swept away by the juggernaut of corporate punk rock in 1976, I felt a combination of jealousy and resentment towards many of the key players who had been responsible for our demise. The Sex Pistols had supported my band Doctors of Madness early in their career and nicked not only our future but £12.00 from a pair of trousers in our dressing room in Middlesbrough Town Hall! The Jam, who supported us over four shows at London’s fabled Marquee Club, were how I imagined The Who would be if they’d joined the Young Conservatives. Warsaw, our go-to support band in Manchester, had just changed their name to Joy Division, and Johnny and the Self-Abusers, our Scottish flag wavers, had become Simple Minds. All were being feted by the all-powerful music press, while we were being buried. But there was one punk band for whom I never had anything but the greatest affection…The Adverts.

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.