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'Bohemian Rhapsody' Original Film Soundtrack

featuring previously unavailable QUEEN performances at Live Aid
and new versions of band classics heads for October 19 release.

Available on Virgin EMI (Universal) /Hollywood Records (USA)
For the first time ever audio tracks from Queen's legendary performance at Live Aid are being released as part of the soundtrack album to "Bohemian Rhapsody", 20th Century Fox and Regency Enterprises' forthcoming feature film celebrating the band, their music and their extraordinary lead singer Freddie Mercury. Recorded at the historic Wembley concert in July 1985, these Live Aid songs are among the rare gems and unheard versions from the band's rich catalogue.

Alongside the show-stopping Live Aid performances of Bohemian Rhapsody, Radio Ga Ga, Hammer To Fall and We Are The Champions, the album features other rare live tracks spanning Queen's entire career, new versions of old favourites, and a choice selection of the band's finest studio recordings. Among them are some of Queen's biggest hits, including eleven all-time anthems that reached Number One around the world. The track listing is being announced on 5 September 2018, which would have been Freddie's 72nd birthday.

"Bohemian Rhapsody" is scheduled to have its World Premiere in the UK on 23 October before opening across the world in early November. It stars Rami Malek as Freddie, Gwilym Lee as Brian May, Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon, and Lucy Boynton as Freddie's lifelong companion Mary Austin. The soundtrack, featuring all-original Queen recordings and vocals, is released on CD and digital formats on 19 October.

Originally starting out in the late 90s, Paris-based 8 piece, Cotonete originally gained fame for renditions of tracks from their contemporaries, the likes of: Deodato, Lalo Schiffrin and Banda Black Rio. Replicating the heavy grooves, sweaty jazz-funk with a nod to the Brazilian warmth and beach breeze. Before bowing out of the game thinking the fun was over….

Fast forward to more recent times, having had their flame reignited by Melik Bencheikh, head honcho of Paris vinyl emporium, Heartbeat Vinyl. He encouraged the band to get back together and over the last two years the band released four EPs of original material - including the collaboration with Dimitri from Paris - quickly becoming collectors items, and now gearing up for 2019 they are finally ready to present a full body of work, their album debut 'Super Vilains'.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these recordings paint a more complete picture of the band - and of rock in the mid to late 80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom dust sleeve and digital download code.

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Limited Lenticular 10y Anniversary Edition w/ heavyweight vinyl, printed inner sleeve + digital companion album of unreleased demoes and outtakes from the album

Late of the Pier announce a special 10th anniversary edition of their cult debut album Fantasy Black Channel, produced by Erol Alkan and released in 2008 to great acclaim. Fittingly, the reissue - released on a limited lenticular sleeve, pressed on to heavyweight vinyl and accompanied by a digital companion album of unreleased demoes and outtakes from the album recording sessions. It's set for release through Alkan's Phantasy Sound label, landing in stores on January 18th, 2019.

LOTP (Sam Eastgate, Andrew Faley, Ross Dawson and Sam Potter) were a band of inter-dimensional musicians who landed in the late noughts, whose wild journey took them from the quiet North West Leicestershire countryside to the stages of Coachella, Tokyo and beyond, touring with the likes of Soulwax and Justice. Their music was a mutant take on pop that described the chaos of being a teenager by looking forwards and backwards over and over again until the present moment started to make sense. Following the release of Fantasy Black Channel they put out singles 'Blueberry' and 'Best In The Class' in 2010, picking up fans from Mike Skinner to Dave Grohl along the way. Talking in a 2014 interview, Grohl exclaimed, 'They blew my fucking mind. They're called Late of the Pier. They made one record and disappeared. They use crazy computers and then they rock and it sounds like dubstep for one minute, then it's a crazy prog thing, and it's like, 'Wow'.'

You might know Peter Matson as the founder, frontman, and guitarist of NYC-based breakout band Underground System, who recently released a debut album of otherworldly global-dance anthems (on Soul Clap's self titled imprint) and have been touring their live show at venues around the US. Matson's roots, while nestled in worldly live sounds, also firmly grip deeper dance music styles, though they manage to still pack a refreshingly eclectic energy.

His debut EP 'Short Trips' for Brooklyn's Bastard Jazz connects the dots between his time moving bodies in the club as a DJ, as well as in his group as a guitarist and producer, though this record is better suited for a woozy club floor. "Roma Norte" kicks off the wax with its soulful cocktail of latin-house styles and hypnotic basslines that would elevate the opening hours of any club night. Deep house legend and Freerange Records boss Jimpster provides an ethereal, creative remix that delves into afro-house territory. "3AM to Sete" is a warm and bubbly deep house tune that sounds like something you might hear late-night in a South London nightclub—it's all warm bass vibrations and subtle synth explorations. Matson's seasoned instrumental skills shine on "126," another breezy synth jam with just enough punch to make you move, eyes closed, of course. 'Short Trips' sounds like the work of someone not interested in where one scene ends and the other begins, but instead, where they connect.

2024 Repress

midnight in tokyo is a compilation series that aims to be the perfect companion to nights in tokyo, collecting tracks by japanese artists that sound best at night. while vol.2 focused more on '80s jazz fusion, the latest installment, vol.3, picks up where vol.1 left off, bringing together forgotten soul, disco, and new wave gems. the compilation opens with japanese rare groove classic 'more sexy,' a provocative song by 'the queen of sexy songs,' yoko hatanaka. 'kimi no yume,' from the album yume no yonbai by the wandering poet masumi hara, is one of the best balearic acid folk song to come out of japan. 'silhouette call' is an electric bossa nova track—in the vein of antena—taken from a rare album called octopussy by yuki nakayamate, a singer songwriter who also worked as a backing vocalist for motoharu sano. 'theme of high school student' is a dubby cut featured on the soundtrack to the japanese '80s film kougen ni ressha ga hashitta, written by atsuo fujimoto of colored music—one of the key artists in the recent wave of global interest in japanese music. 'get to paradise' is a stone cold funk jam by mari kaneko, who was known as the janis joplin of shimokitazawa in her heyday, and is now known as the mother of the drummer and the bassist of popular rock band rize. following that is one of japan's greatest new wave disco track, 'hannya,' taken from tomoko aran's popular third album fuyu-kukan—produced by masatoshi nishimura who was part of the friends of earth project with haruomi hosono. masako miyazaki—whose rendition of seawind's 'he loves you' is a fan favorite—puts her own spin on the earth, wind & fire classic, 'fantasy,' singing in her accent-heavy english which gives the song an undeniable character. 'watashi no koukoku' is a certified disco boogie classic by popular singer junko sakurada. the brazilian-esque jazz fusion, 'sunshine bright on me' is by a fusion group called kangaroo, who were often billed as 'the japanese shakatak.' 'stranger's night' is a synth-pop number by pop idol maiko okamoto, which bears a suspicious resemblance to rah band's 'the shadow of your love.' electro-pop disco 'singing lady'—off the sole album released by the one-off project the fad—sounds like something giorgio moroder could've cooked up. 'magic eyes' is a disco anthem recorded by songwriter tetsuji hayashi's disco project, the eastern gang. following that is japanese soul gem 'crazy baby,' found on a rare 7 inch entitled minato no soul by rinda yamamoto—also composed and arranged by tetsuji hayashi. and last but not least, closing out this collection of 14 japanese rare groove goodies is 'i'm in love', a bittersweet mellow dance number by tomoko aran.

Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland a.k.a. Quantic, joined forces in 2012 to create the celebrated Ondatropica project.

Recorded at Discos Fuentes in Medellin, Ondatropica exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with contemporary influences from around the world. The concept brings together an iconic group of top Colombian musicians representing both the classic and more modern styles of la musica Colombiana. Artists such as Fruko, Anibal Velasquez, Michi Sarmiento, Alfredito Linares, Pedro Ramaya Beltran, Markitos Mikolta and Wilson Viveros joined a group of younger Colombian musicians, members of both Mario's band Frente Cumbeiro and Quantic's Combo Barbaro, to (re)generate the excitement that positioned Colombian music as one of the most influential in South America.

Ondatropica's eponymously titled double album fuses traditional Colombian styles such as cumbia, gaita, champeta with boogaloo, ska, beat-box, MCs, ska, dub, funk and creates a progressive collection of 26 tracks that re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production.

Bremen finds two luminaries of the Swedish punk underground, Jonas Tiljander (Brainbombs) and Lanchy Orre (Totalitär, Brainbombs, Teenage Graves, etc), coming together to explore the dark side of kraut and progressive rock, early electronic and drone music, whilst also invoking the fathomlessly bleak interior landscapes conjured by Nico/Cale on The Marble Index and Desertshore.

'Following a trio of sprawling, planet-gargling double-LPs, 2013's self-titled LP on Skrammel, and Second Launch (2015) and Eclipsed (2017) on Blackest Ever Black, Bremen - J. Tiljander and Lanchy, previously best known for their contributions to Brainbombs' long rapsheet of genius-and- brutality, but latterly exponents of a rarefied cosmic melancholy - return with Enter Silence, their most concise, and powerful, album to date. Once again the Uppsala multi-instrumentalists combine elements of trogged-out psychedelic rock with a deadly serious Arctic minimalism and weeping modal improvisations that owe more to the outer limits of jazz and burnt-out free music from Japan. It's connoisseur's space music, grown-up and grievously honed; outwardly inclined towards the epic but studded with details that reward attention and introspection. There's always been a strong undercurrent of sadness animating Bremen's work, and that existential burden is present and correct on Enter Silence, culminating in the all-out cosmic anguish of 'Palladium'. Even 'The Middle Section', whose ragged chords are nothing if not the sound of optimism and defiance, sounds like it's navigating some kind of unsayable trauma. But this band has always allowed plenty of room for bonehead slash-and-burn as well: see here especially the Stoogeian/39 Clocks-ish rock'n'roll of 'Aimless Cruising' and the pulpy quasi-cinematic tension of 'Sinister', or the brilliant 'Too Cold For Your Eyes', a blast of voidal motorik that sounds like a cranked-up Clean. It's a cold, cold world out there'

Brainchild of Multi Culti A&R, Sascha Funke and Niklas Wandt were introduced by Dreems, who charted a course for the seasoned Berlin-based producer and funky multi-percussionist and singer.

Wandt was just about to enter the scene forcefully with his collaborative 2LP with Wolf Müller and the debut single of his band Neuzeitliche Bodenbeläge. In the icey cold of his warehouse rehearsal space, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it's destination: Wibe strasse, Deutschland.

At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. But the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.

Multi Culti, promoting local collaboration, one freaky record at a time.

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

Daughters, the Rhode Island-based noise
impresarios, release their first new album in eight
years, 'You Won't Get What You Want', via Ipecac
Recordings.
On the heels of their 2010 self-titled offering, the
members engaged an indefinite hiatus. One fated
dinner and two sold out hometown shows in
Providence in 2013 saw them pick up where they
had left off. Throughout the next four years the
band recorded, eventually culling down 150 ideas
to the ten comprising 'You Won't Get What You
Want'.
'London Fog' coloured vinyl LP.
For fans of The Jesus Lizard, The Birthday Party,
Dillinger Escape Plan

Obituary's death metal debut album Slowly We Rot was a ground-breaking release at the end of the 1980s. As one of the pioneers of this genre they created a heavy album where everything was monstrous. From their down-tuned guitar riffs, deep growls and moans and distinct tempo changes. The songs are often slowing down to a doomy tempo, a revolutionary thing at the time of release. Slowly We Rot is inspired brilliance, where the meaning of the title is illustrated in the music and lyrics. Overall, you're in for one hell of a package with this album, as this is the true classic from the death metal.

The Floridian death metal band Obituary is one of the most successful death metal bands of all time. With the exception of their 1997-2003 split, they continue to perform live around the world.

Obituary is available as a limited edition of 2000 individually numbered copies on coloured (solid yellow & transparent green mixed) vinyl.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age), this English-born Jamaican- raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods.

Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future- folk to his magnetic mesh.

Presented here as the first ever dedicated Wize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small- group projects featuring members of the Emerald Web band.

Imagine a comic book where a Funkenstein monster called 'Laraaji-Scratch Perry' invaded your record shelf while Komendarek and Holger Czukay kept lookout... Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

Led By Nigel Ayers And Caroline K, The Band Was One Of The First To Use Tape Cutting, Avant-garde Art, And Underground Video Works To Create A Stage Experience That Was Being Cultivated By Like-minded Artists Like Throbbing Gristle, Spk And Cabaret Voltaire.

Originally Self Released In 1988 On Earthly Delights, Spiritflesh' Is A Masterpiece And A Major Reference For The Early Drone/dark Ambient Minds.

By The Time The Album Came Out, Nocturnal Emissions Had Already Produced Several Albums Of Electronic Music Which Varied From Noisy To Funky. Displaying His Usual Perversity, Nigel Chose To Ditch Electronic Dance Music Immediately Before The Acid House Revolution And Produce A Series Of Utterly Compelling Atmospheric Albums Which Are Often Referred To These Days As Being 'ambient Industrial'.

"spiritflesh" Was The First Offering By The New Shape Of Nocturnal Emissions. The Record 'came Out Of A Long, Hard Thinking, A Personal Examination Of My Own Motives For Working Within Music.' Nigel Ayers Played Church Harmonium, Chime And Music Box On The Record, And Used Samples Of Chimpanzees, Cattle, And African And European Wild Birds. While Generally Ambient, The Music Is Not Like Brian Eno's Work; It Is Atmospheric, But Impossible To Relegate To The Background.

'there's Always A Dangerous Intrusion Of The Real World Into Our Music,' Ayers Said. 'we're Looking Into The Relationship Between People And The Environment, The Kind Of Feedback Which Happens Between People And Locations. Underneath It All, This Planet Has Got Its Own Message.'

With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.

Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.

On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

To throw a CANDELA is a popular expression for hosting an impromptu encounter revolving around tobacco, fire and music. CANDELA and fire are used as metaphors of passion, warmth and love, and this is what CANDELEROS transmit in their live performances, delivering their very own unique Afro-Caribbean vibes with a strong identity: folklore and psychedelia given a modern twist in a ritual of catchy drums, surf guitar riffs and South American percussions.
Infusing punk energy into their remarkable interpretation of traditions, the six-piece band embarks on a journey through the vibrant and immensely rich musical culture of the Caribbean, fusing merengue, champeta, salsa, and son, with bullerengue and cumbia; constantly reinventing themselves.
William, Fernando, Urko, Sergio, Alex and Andrés, come from different regions of Colombia and Venezuela. Their paths crossed in Madrid, Spain, where the Latin American family comes together through art and culture, gathering in diverse groups that focus on bringing their common cultural heritage to the world.
Their passion for endless musical improvisation, always crossing the thin line between genres, can be felt in these two tracks selected by Galletas Calientes Records .
A-Side 'La Cumbia Del Chinche' is an experimental, mind-bending cumbia, driven by a heavy mix of electronic and acoustic drums, hissing guacharacas and hallucinogenic guitars.
B-side 'El Boleta' is a totally freaked-out, uptempo merengue; a clever blend of subtle electronic drums, organic and hard-hitting percussions, psychedelic guitars and keys with the iconic ghostly tremolo and trippy reverb of seventies Peruvian cumbia.

Thandi Zulu known as T.Z. Junior was a young girl from Soweto. She started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.

Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genres of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming.

"Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk. 'Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,' he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka.

Galvanised by a passion for soul, jazz, funk, folk, and Brazilian samba, Judith Ravitz's Bolerio (in Hebrew, Yehudit Ravitz - ) brilliantly reimagines the music of the Brazilian legend Jorge Ben. Increasingly sought-after, housing as it does her seminal take on 'Dia De Indio' - often re-edited and sampled, bootlegged but never bettered - it's a uniquely thrilling LP in its own right. The year is 1983, and Ravitz discovered that Jorge Ben was touring Israel with his crack backing band A Banda Do Zé Pretinho. After joining her in the studio, the ensemble reinvented a selection of Ben's killer tracks that the band regularly performed. On Bolerio - 'come to Rio' - Ravitz handed them equal billing as they aided a recontextualization of Ben's music for an audience that was barely aware of him. These versions are by no means straight re-treads. Far from it. The highlights are many and memorable. The aforementioned 'Dia De Indio', a strutting, electronic samba-funk with stabbing bass and fluid arrangements, sounds so current and fresh that it's hard to believe it's now 35 years old. Its vibrant ambience has been likened to the wiry dubbiness of King Sunny Ade's Synchro System and it's easy to see why. Indeed, the electro elements add a futuristic feel that the original could never comfortably possess. Undeniably rocking more furiously than Ben's versions, the album begins with a throbbing take on 'Boiadeiro', the opener from Ben's Salve Simpatia.

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

Matasuna Records has once again unearthed two Latin gems for its latest release: two rare tracks by Argentina-born musician Enrique Lynch. Lynch moved from Argentina to Peru in the 1960s and became artistic director and producer of the Sono Radio label. He released an astonishing amount of albums with his various bands over the span of nearly three decades.

The two songs will be available together on a vinyl single for the first time - and the track from the flipside will also be released on a 7inch for the first time. For this official reissue Matasuna was lucky enough to have access to the original master tapes. The tracks were carefully restored and remastered in Lima (Peru).

African Bump is one of Enrique Lynch's greatest tracks and the original 7inch is much sought after by collectors and DJs alike. The song immediately captivates the listener as the Wah Wah guitar begins to play and enters into perfect harmony with organ and brass. A thrilling disco funk beat, rhythmic percussion elements and a hypnotic hookline spice up the track and show what great musical treasures South America has to offer.

On the flipside there's a great cover version of the Soul and Funk anthem K-Jee by American band The Nite-Liters, which had a hit with this song in 1971 and even entered the billboard charts. Enrique's version adds some extra grooves with killer beats and breaks, a heavy bassline and wild percussion parts. A distinctive horn section meets funky guitar riffs and deep organ sounds. A fantastic funk tune that will set any dance floor on fire!

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

Matteo (aka Zé Mateo), Musician, Script-writer, Director And One Of The Founding Member Of The Band Chinese Man, Will Release His First Solo Album In 2018. This Album Is Called Scaglia (« Scale » In Italian).
For Several Years, While Matteo Was Making Music, Touring With The Band Chinese Man, Through Life Crisis, Places He Crossed And People He Met, He Has Been Producing Music. On Summer 2017, Gathering All These Tracks Created From Those Different Places And Emotions He Experienced, Matteo Has Been Able To Create Various But Coherent Pieces Of Music That Can Match These Multiple Environments.

The Symbol Of Chameleon Seemed Like The Obvious Choice, As Adaptation Is Its Strength. The Creative Process Is Hybrid And Progressive, Sometimes Very Personal, Sometimes Collaborative, Fully Arranged Or Inspired By A Sample. We Might Add An Instrumental Piece Later With Maybe A Mc Or A Singer.
Matteo Usually Works With Musicians Who Bring Their Own Style Or Capture Themes He Worked On And Offered Them. For The Whole Creative Process,
Matteo Also Gathered Artistic Advices From His Friends From Chinese Man And People Of Talent Who Are Part Or Collaborate With The Record Label Chinese Man Records.

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.
Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic. Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation. Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.
This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.
Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.

Etheric Body Music is Photonz's debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that 'aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.' There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.

The first track is "Forgotten Graves" (which is exclusive to this release) & the second track is 'Tombes Oubliées' with Rike (Friedrike) Bienert providing the vocals which is off the forthcoming self titled BJM album. With Sara Neidorf on drums , Hakon Adalsteinsson on guitar & Heike Marie Rädeker on bass supporting Anton Newcombe in these sessions that were recorded between December 2017 & January 2018 at Cobra Studios in Berlin . The band have just completed successful tours of the USA ,Canada , Australia , New Zealand & Europe . "Forgotten Graves" is released in the same month as the world commemorates the hundredth anniversary of the World War 1 ('the war to end all wars') , this war never ended any other war & more forgotten graves are being added every day.

Erstmals auf Vinyl als 2LP-Set erhältlich, gepresst auf 180g schwarzem Vinyl. TIMELESS - THE ALL-TIME GREATEST HITS enthält 21 zertifizierte Klassik-Tracks von einer der kommerziell erfolgreichsten und renommiertesten Bands der Welt in der Geschichte der Popmusik. Jeder Track auf TIMELESS wurde von Barry Gibb persönlich ausgewählt und sequenziert.

"In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as 'Barry') was in attendance.

Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.

Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.

The band's infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired 'I Feel Like Getting Down' on the 2016 'Aloha Got Soul' compilation on Strut Records).

The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.

Not long after the album's 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye's last European tour can be found online.

Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, 'sweet soul' music.

AGS-7010 features two non-stop groovers with a 7' edit by Roger Bong on the A-side. LP reissue in the works!"

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Alex Dorothée Was Born In Guadaloupe, And Lived Between Paris And His Hometown. He Began His Musical Career As Part Of The Band: The Will Boy, Vautours And Les Junior De Paris. He Has Released 8 Albums And Several Singles. Harmonie Exotic Will Re-propose You The Reissue Of The Album au Krisma Discothèque' Released In The Mid 80s.

By the late seventies Nigerians were increasingly drawn to reggae. It was regarded as a more spiritual and contemplative type of music. When the bright lights and cheap thrills of the dance floor waned, reggae provided life with a deeper meaning. And it didn't come any deeper than 'We Shall Win' by Pogo Limited. Pogo Limited were a Beninese 'super' band, made up of performers from the popular Nigerian Television Authority program, 'Music Panorama'. Emma Ogosi, future superstar and household name, was on rhythm guitar. Robo Arigo was on bass. Pat 'Finn' Okonjo, former frontman of The Hykkers, provided lead vocals. 'We Shall Win' was their first album and a clarion call for change. 'Together' envisages a time when everyone enjoys the riches of Africa. 'Switch Your Lights On' bathes in the purest kind of love and in 'Something Must Be Done', the dream is a long, happy life with great grandchildren. The album's brightest moment, the upbeat 'We Shall Win', takes heart from change in southern Africa. Ironically, it was adopted by the Nigerian ruling party in 1983 as their theme song in what was widely regarded as a massively rigged election. Focussed, deep and contemplative, 'We Shall Win' is a thoughtful alternative to the bright lights of the Lagos dance floor, an album where exceptional musicianship combines with a meaningful lyrics to provide hope in a desperate world. It is an album as relevant today as it was back then.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

Die Zeiten, In Denen Herausfordernde Musik Die Charts Stören Könnte, Sind Längst Vorbei, Aber Es Wird Immer Leute Geben, Die In Musik Mehr Als Nur Hintergrundgeräusche Sehen. Es Wird Auch Immer Leute Geben, Die Musik Spielen, Die Man Hören Sollte.
Blackberries Nehmen Diese Herausforderung Seit Geraumer Zeit An, Und Während Sie In Der Deutschen Psycho- Und Kraut-szene Eine Art Geheimtipp Bleibt, Wird Die Welt Langsam Aufmerksam.
Ihre Energetischen Und Intensiven Live-shows Brachten Ihnen Einen Schnell Wachsenden Ruf Als Einen Der Interessantesten Acts Derzeit Ein. Große Festivals In Amerika, Kanada Und Sogar China Erhielten Die Nachricht Und Luden Die Band Ein, Ihre Eigene Farbe In Den Mix Einzufügen.
Während Ihr Letztes Album "greenwhich Mean Time" In Magazinen Wie Rolling Stone Gelobt Wurde Und Eine Ihrer Amerikanischen Shows In Shindig! Eine Begeisterte Kritik Bekam, Haben Blackberries Keine Zeit Verschwendet, Um Ihr Drittes Album "disturbia" Aufzunehmen, Das Im November 2018 Auf Unique Records Erscheinen Wird.
Ihr Letztes Album War Ein Neuanfang, "disturbia" Ist Eine Natürliche Entwicklung. Die Erfahrung Von Hunderten Von Live-shows Ist All Diesen Neun Brillanten Neuen Songs Zu
Verdanken, Die Immer Noch Auf Ihren Kraut- Und Psych-wurzeln Basieren, Aber Auch Eine Frische Und Moderne Dringlichkeit Haben. Während Die Melodische Stärke Immer Noch Als Eines Der Schlüsselelemente Hell Leuchtet, Sind Die Themen Dieser Neuen Stücke Deutlich Dunkler Geworden.
Die Band Ist Sich Der Gefährlichen Veränderung Des Politischen Klimas Bewusst. Die Aufzeichnung Reflektiert Diese Beobachtungen In Düsteren Songs Über Gewalt, Ignoranz Und
Einsamkeit, Ohne Die Uralte, Aber Immer Noch Relevante Botschaft Zu Vergessen, Sich Gegenseitig Zu Verstehen Und Das "wir" In All Dem "ich Mir Mich" Zu Finden.
Alle, Die Musik Mögen, Die Einen Aufrütteln Und Mitnehmen Kann, Sollten Definitiv Diese Vier Jungen Männer Im Auge Behalten, Die Sich Blackberries Nennen.

For this album, the legendary Congolese band Konono N°1 has joined forces with acclaimed Angolan/Portuguese artist Batida aka Pedro Coquenão. Deluxe double LP with colour innersleeves and download code.

Along with producer Vincent Kenis, they convened in Batida's garage-cum-studio in Lisbon with a series of collaborators and friends of Batida's, reflecting the city's vibrant, cosmopolitan music life: guitarist Papa Juju (the leader of Lisbon's foremost Afro-fusion band Terrakota), vocalist Selma Uamusse (one of the best young African singers currently residing in Portugal) and MC AF Diaphra, a distinguished slam poet and an artist/producer in his own right.

As we all know by now, Konono N°1 are based in Kinshasa, DRC, but originate from the Bakongo ethnic group, which lives in a region straddling the border between the Congo and Angola. Hence certain similarities between Konono's rhythms and some types of Angolan music from which Batida has drawn inspiration for his albums and shows.

This encounter was obviously bound to happen... but was nevertheless quite an adventure: blending the worlds of electronics beats and organic grooves was a challenge to which the parties have risen beautifully to create this exciting, unheard-of new strain of Afro-electro music. The album was jointly produced by Vincent Kenis and Pedro Coquenão.

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

Sometimes Magic Happens. Sometimes, Emotions Enwrap You In A Way You've Rarely Experienced Before. Sometimes, It's Just A Matter Of Freedom: The Freedom To Create, Improvise, Process, And Re-process, Without Specific References, Deadlines, Or Obligations To Please Whatever Markets Or Audiences With Clear-cut Styles And Sound Signatures.

Actually, This Tomat Petrella Affair Is Quite Unexpected. It's A Game Of Two: Turin-based Davide Tomat, Who Has Over Twenty Years Experience As A Multi-instrumentalist, Band Leader, And Sound Designer In Several Italian Projects (niagara, N.a.m.b., And Founder Of The Superbudda Collective); And Musician Gianluca Petrella, Hailing From Southern Italy But In Fact A Citizen Of The World And - More Importantly - One Of The Most Revered And Inventive Jazz Trombone Players In The World From The Last Decade Or So (as Stated On Several Down Beat Critics' Polls And Proven On His Blue Note And Ecm Releases).

'kepler', Their Collaborative Effort, Is A Beast Of A Different Nature. It Has So Many Textures, Intuitions, And Complexities That You Can Hardly List This Simply As A 'jazz-meetselectronica' Project.

So Much Cheesy, Well-educated, Nicely Predictable Music Has Been Produced Under That Moniker, But So Far None Of Them Have Had 'it'.

Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:

· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.

· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.

· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.

· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.

· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott

· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

Was sich zum Jahresbeginn 2018 schon abzeichnete, wurde im Sommer gewiss: Muff Potter zieht es zurück ins Rampenlicht. Für 2019 ist eine Deutschland-Tour anberaumt, und im Zuge dessen bringt das eng mit Band befreundete Hamburger Label Grand Hotel van Cleef nicht nur vier zwischen 2000 und 2007 veröffentlichten Alben als Vinyl-Repress noch einmal neu heraus, sondern ergänzend eine Sammlung mit Raritäten und noch nie gehörten Songs aus der gesamten Schaffensphase der wegweisenden Indie- und Punkrockband. Insgesamt schufen die Münsteraner zwischen 1993 und 2009 sieben gemeinsame Alben. Sänger Nagel hat seitdem drei Romane und einen Bild- und Textband veröffentlicht, Gitarrist Dennis Scheider wurde Produzent, Bassist Dominic "Shredder" Laurenz betreibt einen Innenausbaubetrieb und Schlagzeuger Thorsten "Brami" Brameier spielte in verschiedenen Gruppen und Projekten mit. Nun schlägt das Quartett ein neues Kapitel in der ruhmreichen und wechselvollen Bandgeschichte auf.

Record Kicks Pres. "travelers, Exlplorers" The Brand New Single By Legendary Italian Cinematic Funk Combo Calibro 35, Out 9th Of November On A Ltd Edition Vinyl 45.

"travelers, Explorers" Is A New Epic Journey Into Calibro 35's World, A Sung Revisitation Of The Morricone-inspired Tune "travelers" That Closes Calibro 35's Latest Lp "decade". In "travelers, Explores", The Italian Combo Gets Lost In Deep Space With Thewhispered Voice Of Elisa Zoot, Who Guides The Band Into This Journeymade Ofstrings, Brass, Synth Textures And Vibraphone. On The Flip Side, Two Heavy-brass Dirty-groover Versions Of "stingray", Barry Gray's Opening Theme Of The Iconichomonymatv Series: Instrumental Version And With The Italian Singer Serena Altavilla. This 45 Vinyl Is Limited To 500 Copies Worldwide Andall Calibro 35's Previous 45s Went Sold Out In A Few Days, Be Fast!

Calibro 35 Enjoys A Worldwide Reputation As One Of The Coolest Independent Band Around. They Have Been Sampled By Dr. Dre On His Compton Album, Jay-z Love Child & Damon Albarn, They Shared Stages With The Likes Of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters And As Unique Musicians They've Collaborated With, Amongst Others Pj Harvey, Mike Patton, John Parish And Stewart Copeland And Nic Cester (the Jet). Described By Rolling Stone Magazine's As The Most Fascinating, Retro-maniac And Genuine Thing, That Happened To Italy In The Last Years, Calibro 35 Now Count On A Number Of Aficionados Worldwide Which Includes Vip's Fans Such As Dj Food (ninja Tune), Mr Scruff And Huey Morgan (fun Lovin' Criminals) Among Others.

Double LP on heavyweight 180 gram audiophile black vinyl in a wide spined sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Includes a bonus track not on the CD version and new artwork design. Never has a record been so aptly titled, or so perfectly descriptive of a band's particular vision of the universe. For all that, the original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000. The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos, understandably named for the recording location in a studio outside said English city. Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion. Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World. "The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful. "Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl. On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take. The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Corduroy's third album 'Out Of Here' updated their sound, taking in
1970s influences that would later be defined at yacht rock. The
Iconic cover with the band about to take off in a bubble-fronted
helicopter the album shows the band at the height of their powers.
The track features the Top 75 hit 'Mini', the anthemic tribute to
Japanese jazz star Monday Michiru 'Don't Wait For Monday' and their
reverent cover of 'Motorhead'.
Available on LP for the first time in two decades, it comes pressed on
shiny blue vinyl, re-mastered from the original tapes.
The perfect companions to the comeback album 'Return Of The
Fabric Four', which was released earlier this year.

If you're going to call your band audiobooks, you'd
better have some good stories to tell. Stories that
should move you and stories to make you move.
Stories about real life and surreal life and all that
weirdness that you just glimpsed out of the corner
of your eye. Luckily, audiobooks really do.
The London-based duo have developed a unique
ability to conjure up magical aural snapshots that
wallop you like bong hits.
Each of their discombobulating observations comes
stretched out over a series of discomfiting
oscillations, like messages from the spirit world or
pulp fictions found in a box at the end of your road
or a crackling pop broadcast from a far-away
galaxy.
'One to definitely get under the skin... a thing of
exotic beauty' - DJ Mag (8/10)

* Belia Winnewisser is returning to Präsens Editionen with Radikale Akzeptanz. The record is her debut album as a solo artist and it marks her second release on 'the curious label arm of Lucerne's zweikommasieben magazine.'

* Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser's practice in various band projects with rather new interests from her studies in sound art. Thus, bittersweet off-pop-hymns with bubble-y melodies can be found next to austere examinations. Add a good amount of time spent in clubs and you get a Skull Disco-esque banger at the end of this gutsy album.
The title Radikale Akzeptanz—or radical acceptance—stems from a concept in evidence-based psychotherapy. Even more than the concept as such that is about accepting uncompromisingly your situation, however, it is the expression's mere sound that is of interest to Winnewisser. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s).

Edition of 300copies, artwork (incl. booklet) by Vinzenz Meyner.

Quotes:
'Interesting stuff! It has a surprising bit of post-rock language in it to my ears, just executed with electronics.' - Byron Westbrook (Hands In The Dark, Umor Rex)
'A pleasant listen! Especially 'III,' 'Trapped In My Mind,' 'The View' and 'Albasty.' Also, found that the idea behind the title is weighty to the extent it can be related to relevant issues of today's ways of interaction!' - Arcagelo de Castris (Macao, Dance Affliction)
'Sounds like John T Gast, Caterina Barbieri and Klara Lewis making tunes on a space ship!' - James Marrs of Laura Lies In
'This is really good.' - Hypermedium's Timos Alexandropoulos 

Press / Promotion*Airplays on NTS Radio by Flora Yin-Wong, Hypermedium and more, airplay on Radio Raheem by Arcagelo, feature on Noods RadioVarious (release) events upcoming, incl. a show at London's Café Oto, an exhibition in Lucerne and gigs next to Lorenzo Senni, Puce Mary and more.
Premiere of 'WAHDWTH' on Bizaarbazaar.PE / zweikommasieben mailing list = 2000 subscribers

Social NetworkingPräsens Editionen - Facebook = 550 likes / Insta = 500 / Spotify = 350 subscriberszweikommasieben - Facebook = 5200 likes / Insta = 2000 / Twitter: = 680 followers

The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.

Nick Klein is an artist making electronic music born in southern Florida and based in Brooklyn, New York since 2012. Upon moving to New York the concentration of his works output has been to mine and investigate the troped qualities in various forms of electronic music, and then to realize singular directions in how to communicate these ideas himself. Alongside Miguel Alvarin~o he runs the music imprint Primitive Languages.

His latest offering since the January 2018 EP "Lowered Flaming Coffin" (Alter) is a continuation of his burnt dance music explorations with "The Bathroom Wall" on Bank Records. As a totem to reflect onto with text, to rest ones eyes in blur, or to physically hold ones self up in the throes of intoxication, the bathroom wall takes and gives numerous gestures of use. Klein uses the symbology of the bathroom wall to construct five disparate wall scrawlings and hazed meditations into the compositional grounds for four meaner mid-tempo, rhythmic purges. Tracks "The Worst Band In The World" and "American Gut" take on the pulsing build of an intoxicated night out. The record divides in on and itself in tone with "Rather Be Your Enemy", an homage in title to the legendary Lee Hazelwood song, wherein the synthesizer convulses slowly conjuring the bleaker qualities of tinnitus taking the lead over your senses. Side B of the record throbs quickly with the blown bass drums and hissing rhythms of "Pushing Your Luck" and comes to a drawn conclusion with the ten minute come-down at sun rise burner of "Poor Me Another".

The record was recorded using a modular synthesizer to tape by Nick Klein and mastered by Josh Bonati. Design work taken on by visual provocateur Chris Norris (Steak Mountain).

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

To put it simply, 'True Meanings', the fourteenth Paul Weller solo album, the twenty sixth studio album of his entire career, is a record unlike any he has ever made before.

'True Meanings', is released on September 14th and is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul's better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

On the 25th May this year, Paul Weller turned 60: a milestone that has unquestionably had an impact on the feel, both lyrically and musically, of 'True Meanings' which comes across being the most singer-songwriter-style album he has ever made. However, it is also the most collaborative: with more guests than any record he's been involved in before.

As well as all the members of Weller's band, Rod Argent of the Zombies provides Hammond organ on 'The Soul Searchers' and piano and Mellotron on 'White Horses'; folk legends Martin Carthy and Danny Thompson add picked guitar and double bass respectively to 'Come Along'; Little Barrie plays lead guitar on 'Old Castles'; Lucy Rose sings backup on 'Books'; and 'Movin On' is the result of a 'scratchy demo'on Paul's phone that was sent to Tom Doyle of the White Label project. Even Noel Gallagher makes a sneaky appearance.

Perhaps most surprisingly of all, especially given how personal and introspective 'True Meanings' feels, lyrics for four of the fourteen songs here were written, to Weller's melodies, by others. Connor O'Brien from Villagers came up with the words to opener 'The Soul Searchers', while 'Bowie', 'Wishing Well' and the closing 'White Horses' are all the work, lyrically, of Erland Cooper from Erland & The Carnival.

'True Meanings' was produced by Paul Weller except 'The Soul Searchers', which was co-produced by Paul and Conor O'Brien and 'Movin On' which was co-produced by Weller and White Label. The album was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.

The album was recorded in just over 3 weeks at Paul's own Black Barn Studio, with the aforementioned, revolving cast of characters dropping in for a day here and there. The orchestration was added soon after, and that was that. It is always a good sign when the recording of an album is swift, and here you can just hear that the man at the centre of these songs is as focused and inspired - more inspired, even - than he has ever been.