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It’s a tough call which is the bigger cult classic, the Tank Girl movie or its accompanying soundtrack, but on balance, we’d have to go for the soundtrack. Yeah, the film had a cast composed of some of the most colorful characters (Iggy Pop, Ann Magnuson) and character actors (Malcolm McDowell, Ice-T, and of course the almighty Lori Petty!) in show biz.

And, its dystopic, resource-starved desert setting, intense action sequences, and lead female character mark it as a feminist (albeit funnier) precursor to Mad Max: Fury Road. But check out the soundtrack’s bona-fides: assembled by Courtney Love herself, it features a Who’s Who of ‘90s female rock including Hole, Björk, L7, Veruca Salt, and Belly among others. Plus, it even has tracks that were exclusive to its release, like a unique version of Devo’s “Girl U Want,” “Mockingbird Girl” by The Magnificent Bastards (a side project of the late Scott Weiland of Stone Temple Pilots), and a duet of “Let’s Do It, Let’s Fall in Love” between Joan Jett and The Replacements’ Paul Westerberg. In short, if there ever was a score that needs to be on wax, this would be it. We’ve done it right, too, with a gatefold jacket featuring the trademark comic book art and stills from the film, and neon coral vinyl pressing for its 30th anniversary!

It’s written in the Agreement Terms. There’s no getting out alive in Life. And yet, mankind keeps striving for eternal life; through art, through power, through cryogenics, through singularity. In that misguided quest against the inevitable, we all fall into the category of lost travellers. No one is exempt. In that understanding, Confucius MC and producer Bastien Keb offer no misgivings about the destination on the somber “Time Will Come”: Time will come for all of us / try to take your time.

Songs For Lost Travellers is a collaborative album by Con and Bastien Keb that merges unexplored pathways between rap, folk, and jazz into a spiritual triumvirate. Each genre is a balancing force within the record. The result is an album unlike either artist have made previously, possibly unlike any record in existence. Songs For Lost Travellers opens with bedtime stories and fairytales. Both “Tell Me Lies” and “Fairytale” present the creature comforts that trick us into forgetting the truth. Con’s first words spoken are “tell me lies ‘til I swear I can’t remember” over Keb’s lo-fi plucking that feels like it was lifted from a handheld recorder capturing a nursery mobile above a crib. Third track “Time Will Come” resets the album after acknowledging on “Fairytale” there’s “no nourishment in half-truths / no sustenance in eating lies.”

Honest and direct, Con and Keb imbue Songs For Lost Travellers with knowledge and truth from their lived experiences. There is grief hidden in the notes, an inherent sadness that is balanced with an awareness that grief is a protest against the social machinery of remaining numb. The record lingers in a meditative state, unafraid of restlessness and embracing solitude, with the expectation that peace is just as imminent as death.

The production contains a complimentary authenticity. Neither Con nor Keb bothered much with the professional studio in making Songs For Lost Travellers. Instead they opted for the raw state of their home recordings and first takes, matching the intimacy of being alone and reflective in their creative energies. Room static on “Tell Me Lies” makes it feel like you’ve entered their apartments. The immediacy continues on “Gutters,” as Keb plays guitar while watching the tele and Con hums along to the vocal melody in search of the proper pocket for his verse. Someone snaps their finger to mark a cue, but the snap never returns to the mix to keep time.

More drawn to Keb’s recent folk recordings on the Songs For Lilla EP than his funk roots circa Dinking In The Shadows of Zizou or the cinematic soul of The Killing of Eugene Peeps, Con leaned into the spacial freedom he heard in Keb’s lo-fi production cobbled from field recordings and voice notes. Both artists placed their families into the tableau. Con wrote “Little Man” for his son, hoping to add a positive contribution to the canon of parental rap songs. Later, his son appears at the end of “Paramount” to deliver a passage from Kahlil Gibran’s The Prophet. Keb secretly recorded his mum playing saxophone and sampled his cousin playing sax as well. The result is a near-drumless album (save for “Toulouse” and light tapping on “It Would Speak”) in which Keb’s raw production (plus a few sessions with Kofi Flexxx) gave Con a liminal zone, unencumbered by beats per minute, to craft melodies that turn his philosophical rhymes into mantras.

Perhaps there’s a message in the presence of family? It would be one of many. Con and Keb’s reflective, somber approach to Songs For Lost Travellers does not wallow in the mire. Music is action and it’s taking them through a portal to the other side of grief. We are welcome to join (which is also in the fine print of the Agreement Terms), but first there’s a password in the final song, a single request to answer: Tell me what you care about.

Biography by Blake Gillespie
credits

The third album Fort Sensible by Brisbane alt-rockers Tape/Off is a genuine labour of love, a passionate dose of opinionated heart-on-sleeve rock’n’roll representing not just a place but a time with its cache of meticulously-crafted guitars, robust rhythms and socially-conscious lyrics mining both the personal and the political.

While musically they veer seamlessly between intricacy and intensity their words cut straight to the quick, the songs caustic and catchy in equal measure, making Fort Sensible by far the most ambitious and accessible album in the band’s storied decade-plus history.

Tape/Off’s first two albums - Chipper (2014) and Broadcast Park (2018) - were both longlisted for the prestigious Australian Music Prize, yet Fort Sensible takes the tried and tested Tape/Off aesthetic to a whole new level as the band seek to both share the creative load and fully harness their innate collective chemistry.

The guitars of Nathan Pickels and Ben Green weave together like an electric tapestry, the resultant soundscapes both intricate and ambitious whilst still entirely capable of busting out massive riffs with the best of them, their inherent simpatico now built upon by years of experience playing off each other. From a rhythmic perspective Tape/Off's propulsive drummer Branko Cosic's immense power and Cameron Smith's robust, expressive basslines combine to provide the perfect rhythmic bottom-end throughout the record.

Excitingly Tape/Off's sonic palette has been broadened substantially on the new album, with Pickels' angry and angst-laden diatribes throughout Fort Sensible now augmented by Green and Smith taking vocal turns at junctures, adding a whole new dynamic and dimension to proceedings.

At a time when our leaders seem lacking and the world needs the redemptive powers of art and music more than ever, Tape/Off announce themselves as a serious force to be reckoned with the uncompromising power and beauty of Fort Sensible!

Generally regarded as the first true 'new age' record, Steve Halpern's 1975 private press LP has long been in demand by collectors. In particular, the very first pressing of the album included an extraordinary long-form jazz funk track called 'Something for Every Body Suite' that was removed from subsequent versions. Eating Standing is proud to reissue Halpern's classic long-lost original version of the album, officially licensed from Halpern himself that includes this heavy groove-laden masterpiece. This is the very first ever full reissue of the first press album with full reproduction of the artwork. Original copies cost over $700 (assuming you can even find one) but now this incredible landmark album is available once more to enjoy. "Reissued for the very first time since 1975 in its original format and track listing, a legendary album that is considered a game-changer in music. Steve Halpern's landmark album 'Christening For Listening (A Soundtrack For Every Body)' is considered by many to be a crucial and defining album that pointed the way ahead. Predating the ambient/experimental work of Brian Eno, Steve Hillage and even Mort Garson's 'Plantasia', Steve Halpern's 'Christening For Listening' was the first album to explore what became known as 'new age' or ambient music, exploring the effect of tones and rhythms on the human body and mind as well as plants and other organisms. Originally issued as a private pressing in 1975, the very first issue of this album had an extraordinary extended jazz funk track on the B side, a DJ/Samplers delight – DJ Gaslamp Killer is a huge fan. This track, 'Something For Every Body Suite', was never included on any of the subsequent represses making the very first pressing incredibly rare and almost impossible to find. It's reissued here for the very first time, with full repro of the original artwork plus a Q&A by Tony Higgins with Steven Halpern himself.

Comes with an insert with exclusive pictures and condensed interview about the serie with Lloyd Miller made in March 2022 printed on 300 gram Favini "Remake" paper, plus exclusive goodies!

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller- Drum (Zarb), Lute (Oud), Lute (Kamanche), Lute (Sehtar)
Marilyn Miller -lute
Jan Otterstrom - Guitar
Stan Wood - Percussion
Anna Claire Eastmond - Vocals

Notes:
The second and last chapter of Dr Miller's journey between cultures and its uses, which began with "The Far East", dissected and looked into the root of the sound of distant Asia, continues with this new chapter dedicated instead to the countries bathed by the Mediterranean and contiguous to Central European history. From Spain to Arabic sounds, a new compendium that takes us back to other places and times, Dr Miller is once again able to dissect and encapsulate sounds and spices from distant places and spaces in a time machine. Thanks to these historical documents, we have the opportunity to discover feelings that are impossible to find 50 years later, sucked up and watered down by globalization and social capitalism.

"Love Conquers All" is a collection of deeply moving songs by The Moody Blues’ John Lodge. All written during difficult times, yet reflecting the positive way in which John sees the world. As John explored his journey of healing, he invited different musicians to collaborate with him on each song, making each song unique, yet at the same time they all carry the same message... that love does conquer all. ‘Love will Conquer All’, ‘Whispering Angels’, and 'Sunset over Cocohatchee Bay’ were all written through personal health challenges, and 'In These Crazy Times’, and ‘The Sun Will Shine’, originally written in lockdown, have been reimagined and remixed for 2024, reflecting how this time is now firmly in the past. 'Whispering Angels' was written by John and his son-in-law Jon Davison, of YES, and Jon features on all the tracks on the release. ‘Love Will Conquer All’ isan almost Christmas song full of hope, plus there are guest appearances on the album by Geoff Downes of YES, Tim Maple, Dave Colquhoun, Ray Nesbit, John’s 10,000 Light Years Band, and also John’s wife, Kirsten and son, Kristian. As you journey with John through the songs, starting with the instrumental ‘Sunset Over Cocohatchee Bay’, and ending with the more anthemic ‘Whispering Angels’, you will be moved by these beautifully crafted songs, surrounded by the incredible musicianship, and feel the love brought to each song by John and his friends and family. This release truly is a journey of love and recovery and John is delighted to be able to share it with you today.

Lost tracks don’t stay lost forever. Running Back is proud to present the reissue of Aric’s I Love Your Love – a long-forgotten gem from the good-time party days of the early dance era. Originally created in the spirit of celebration and groove, these tracks disappeared into obscurity until a few dedicated DJs and dancers across the globe began bringing them back to life.

When Elado stumbled upon the songs and saw the magic they still held for modern dancefloors, he tracked down Aric – now better known as Dr. Aric, a paediatric public health professional – to bring the music back to the world. What followed was a journey through memory, music, and rediscovery.

The result is here: the original cuts, plus fresh remixes from Elado, Pete Blaker, and Gerd Janson. Nostalgia meets new energy, and the dancefloor wins again.

Sam Amidon is a singer and multi-instrumentalist (banjo, guitar, fiddle). New album, Salt River finds Amidon reinterpreting and regenerating 10 familiar pieces of music that he has collected together over time, ranging from traditional English shanty Golden Willow Tree to Lou Reed's Big Sky. It was recorded in collaboration with saxophonist and producer Sam Gendel. Sam has released 7 acclaimed albums plus collaborated with The National, Bon Iver, Beth Orton, Marc Ribot & The Blind Boys of Alabama.

Short n’ Sweet showcases the scintillating spirit of Sabrina Carpenter, the pocket-sized popstar with a larger than life artistic presence. With a gold album & multiple platinum singles under her belt, it’s no wonder that ‘Espresso’, the debut single from the album, has it all: lyrics that make you giggle & blush and songwriting that makes you wish you’d thought of it first. The deluxe album is released with the 12 standard tracks plus 5 additional songs.

This new 12" on US label Season Limited brings together two of deep house's most accomplished and tasteful names in French legend Franck Roger plus Arnold Jarvis who he last collaborated with in 2007, while UK mainstay and Freerange label boss Jimpster remixes. It is one the label has been cooking up for a while but proves more than worth the wait. 'Living My Life' is the one original collab and is smooth, buttery deep house with lush vocal tones. Jimpster brings a little more bounce and a fat bassline on one mix, then dubs things out to prefect for the second. A timeless set of grooves that will level-up any collection.

‘Ice Cream Dream Boy’ serves as a celebratory anthem, an ode to manifesting dreams into reality, and a testament to Shanti's knack for creating infectious and uplifting dance music as she explains: “I wanted to make a happy and uplifting vocal summer tune and I just so happened to be in the peak honeymoon romance period with my now partner (The Ice Cream Dream Boy). He had discovered my love for soft plush toys and decided to buy me a cute little fluffy Jellycat Ice Cream so when I made the instrumental I felt insecure and unsure about what lyrics to write, so I just decided to sing about what I was currently experiencing in my life. I had been a fan of Shivum Sharma for a while and I had just done a remix for his amazing song '7am', so after establishing a cute lil connection I thought I’d ask him to help me write the song as I was very new to writing lyrics!”

This limited edition Vinyl features 5 varied remixes, perfect for any scenario.

Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

The second release on B.I.T. Productions new ALTERNATIVE label features a 4 Track E.P. with 4 different artists, Awesome 3 & Ondamike, Andy M & Dream Frequency, Retropolis & A.PLUS.

The Awesome 3 & Ondamike collaboration "Ready For This" was originally released digitally in December 2021 with a radio edit version, here is a new Extended Re-edit exclusively for this E.P. A quality breakbeat production with throbbing bass and electro sounds with a catchy rap.
Andy M & Dream Frequency "I Want Your Love" is an anthemic breakbeat piano monster with old skool synth sounds and catchy vocals.

Retropolis 5am is a banging dirty breakbeat track with a big piano riff that gets looped before exploding into more dirtiness.

A.PLUS is a piano driven breakbeat track with catchy vocals and nice dirty synth melodies to complement this 12" E.P. perfectly.

a A1 Awesome 3 & Ondamike - Ready For This [Extended Re-Edit]

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

CRONOS features the first 3 blistering singles from the mighty Two Fingers vs Muadeep collaboration plus 4 more skull-banging tracks.

“Dirty, dragging, massive. If Godzilla had a soundtrack while destroying a city, it would have been this EP.“ – Muadeep

2LP 180gm 45 RPM audiophile edition, printed insert, polylined inners, gatefold sleeve, numbered Obi strip. The Alan Parsons Project "Pyramid" is re-issued in a variety of different formats including this 2LP heavyweight, 45 RPM Audiophile edition. The first pressing comes with a numbered Obi-strip. This edition was expertly cut by Miles Showell at Abbey Road Studios, October 2023 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from the original 1978 mastertapes. As with other The Alan Parsons Project albums, the focus was on very high-quality studio sound production, and they recorded the album at Abbey Road Studios in London. There were a variety of different lead vocalists employed including John Miles, Colin Blunstone, Lenny Zakatek, David Paton, Jack Harris and Dean Ford. Plus, a selection of session musicians such as guitarist Ian Bairnson and drummer Stuart Elliot with arrangements by Andrew Powell.

Slum Dunk Music is proud to re-release Tropical Punk - a 12" EP by Brazilian mutant punk funk duo Tetine formed by Sao Paulo-born artists/musicians Bruno Verner & Eliete Mejorado, originally released in 2010 - and featuring 4 warm dance punk numbers taken from their the album "From A Forest Near You". The opener "Tropical Punk (Mutant edit)" comes with a brand new mutant funk re-edit with more percussion, more analog synths, warm drum machines, and a funky bassline. The result is a mid-tempo South American cannibalistic disco-pop with catchy lyrics & beautiful half-sang/half-spoken melodies. "Yr Daugther Lies" is a cosmic, experimental/new wave piece with plenty of old school synths, processed vocals, percussive drum machine & spooky live electronics flying around in the mix. It marks Tetine's first collaboration with L.A. electronicists Howardamb. On the B side, "Shiva" comes as a percussive tropical mutnat punk-funk number led by a swinged bassline & Eliete Mejorado's distinct post-feminist spoken word vocals on sordid domesticity set against organic drum beats, dissonant soundscapes, a lost trumpet & some great interplay of raw guitars. The last track "O Espaco" is a relaxed 6-minute cosmic disco piece of Brazilian tropical punk funk on the dangers & delights of being lost in the jungle - sang in Portuguese by Bruno & Eliete - & permeated by a discordant interplay of ultra-funky guitars, abstract synth-bass plus all sorts of FX & live electronics. Tropical Punk finds Tetine celebrating their art-punk roots back to the underground of Sao Paulo with a collection of wild & raw unconventional dance tracks.

VERY VERY LTD DELUXE CLOTH BOUND GATEFOLD SLEEVE RED VINYL EDTION, 2LP W/ DLC! "The first three songs alone are like love at first hearing." - Deluxe 2xLP clothbound sleeve edition of 'Car Button Cloth', featuring Lemonheads classics 'If I Could Talk I'd Tell You' and 'The Outdoor Type'. This reissue includes the original record alongside a whole extra LP of rarities and unreleased cuts, continuing Fire Records in-depth series of reissues from the legendary band. 'Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning "the most beautiful piano-led mourning in the history of the broken heart" that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic 'The Outdoor Type', penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard 'Knoxville Girl' and 'If I Could Talk I'd Tell You' co-written with The Vaselines' Eugene Kelly. All bases are covered. To further unravel where Evan's head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan's thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released 'Arise', originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album 'Baby I'm Bored'. "One of the most distinctive voices of the '90s" The New York Times

Over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He’s contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations) alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others. On tour, he’s traveled the World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men
.
This Fall, he’ll stage 65 performances in North America as a member of BEAT, celebrating King Crimson’s ‘80s repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting “Discipline, Beat and Three of a Perfect Pair.”

Levin’s seventh solo album, and his first since 2007, is an autobiography of sorts, with the themes drawn from Levin’s musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

Features a Murderer’s Row of guest musicians including Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Collin Gatwood, Chris Pasin, Jay Collins, Josh Shpak, Don Mikkelsen.

Balli - Marraffa - Balli - Marraffa - Balli... is the new code to tune in to the 8 bit-jazz revolution, dial it on every device you might have to start its ringtone made of sax solos counterpointed by Game-Boy melodies. Once inside the Balli - Marraffa - Balli TRIO the trick wil be to identify the many videogames soundtracks hidden in this free-chiptune ep between the wildest reeds butchery and the Game-Boy gabba. Of course 'Super Mario Supreme', 'Grand Theft Auto Jazz Club', 'A kind of Arashi' and more to be detected inside "8 bit-Jazz Furlough" 10" vinyl digital.

After releasing their accomplished debut album “NEW AGE PARANOIA” in 2023, THE DSM IV are following up with this limited edition, vinyl only EP “NEGATIVE UTOPIA”. Formed by Guy McKnight of the critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster, THE DSM IV has a dark sound that blends hypnotic noise-rock with synth-pop industrial aesthetics. “NEGATIVE UTOPIA” features six more synth-pop-acid-house-goth-rock-new-wave bangers. The A-Side consists of three new songs by the band. Meanwhile on the B-Side there are remixes of two tracks from “NEW AGE PARANOIA” (‘Racist Man’ and ‘Pennywise’) plus a cover of Joy Division’s iconic ‘Isolation’. Shimmering synth lines meet heavy guitar riffs in a kaleidoscopic sonic sound space where McKnight’s shamanic vocal acts as a guiding force. This EP, like their debut album, demonstrates that THE DSM IV are a band with a social conscience and are unafraid to speak truth to power on matters of injustice. Their music is a reflection of the what is around them, it grapples with the consequences of a cruel and unjust planet with an optimism and belief that a better world is possible.

Legendary House don Harry Romero joins Rekids for the first time with the ‘Nice To Meet You’ EP comprising two massive tracks with classic NY House DNA with the sort of modern twist Romero’s become synonymous with throughout his two-decade-plus career. The Bambossa Records founder now lands on Radio Slave’s flagship label following an impressive 2024, which featured releases on Faith, Nu-Groove, and Defected.

After his appearance on Rekids’ podcast series in August, House hero Harry Romero starts the label’s 2025 with the ‘Nice To Meet You’ EP. First up is the title track, a uniquely hypnotic cut with a bold kazoo melody and raw, club-ready low-end that shines on the breakdowns and high-impact drops. ‘Danny’s Groove’ is next, a track with real Romero energy, its rhythm carefully layered with an organic drum shuffle at the centre, an ear-catching whistle melody in the back, and plenty of synth hits in between - the ‘Nice To Meet You’ EP is a masterclass in building and releasing energy on the dancefloor.

Radio Slave’s Rekids imprint was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Katerina, Sean Johnston, and many more.

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

Following the international success of Her, Victor Solf presents « Tout Peut durer », a futuristic soul album in French for the 1st time.

In it he gives himself over to the intoxication of singing like a modern-day preacher.

Respecting the codes, he adds his own personality, working tirelessly to find the perfect balance between eternal soul and progressive RnB, between groove and minimalism, between intimate melancholy and collective jubilation.

Without nostalgia, without hindrance.

The combination of their musicianship and the cutting-edge technology at the studio resulted in a masterpiece of pure, state-of-the-art funk and boogie. The album features all the hallmarks of great 80s music: fresh synths, drum machines, and powerful lead vocals from John Davis. Upbeat tracks like "The Cat (Puma)" and the title track sit comfortably alongside more soulful songs like "Tears" and "Hearts of Gold," while "Dancing Shoes" remains one of the era's catchiest dance tracks.

Still, Shake It - Make It Loose holds a few mysteries. Why was it released under the unusual name J.D. (Puma) Lewis? And what's the story behind tracks like "The Cat"? While J.D. Lewis stood for John Davis Lewis's full legal name, Hudson sheds light on the "Puma" connection: "At the time, I was working as a promotions manager for Puma sportswear. Jörg Dassler, son of Puma founder Rudolf Dassler, was a friend of mine and financed our studio sessions." As said, these sessions took place at Hartmann Digital, a state-of-the-art studio in Untertrubach, Bavaria, where iconic artists like Nena, Yello, Visage, DAF, and Soft Cell recorded.

The use of such an expensive studio would have been out of reach for the two musicians without Puma's backing, which also explains why there is a title like "Dancing Shoes." When we had licensed the track for the Boogie On The Mainline compilation in 2018, we had the chance to speak with John Davis (who sadly passed away in May 2021 due to COVID-19). Davis revealed that there were plans to make a video for the song in collaboration with Puma, but those plans fell through. In the end, the album was signed to the Deggendorf-based Metrovynil label.

Interestingly, the original contract reveals that the first version of the album only contained six tracks. Metrovynil added two more: "Sexy Highschool Lady," a track Davis recorded solo, and "Party Rap" by The Dynamite Two, which had no connection to Davis or Hudson at all. The album's credits also list a "Fred Fiore" as the person "who made all of this possible." Hudson, who sees himself as the producer, has no idea who Fiore was - likely another fabrication from the label. "That's just the kind of thing Metrovynil did," Hudson comments with some regret.

Despite the behind-the-scenes confusion, the music spoke for itself. The original pressing looked and sounded fantastic, featuring a stylish cover shot of John Davis in a sharp suit. Now, with this first-ever vinyl reissue, we're thrilled to include additional photos and more background information in a deluxe gatefold sleeve.

This reissue includes all six tracks from the original Hartmann Digital sessions, plus two bonus tracks. From the original reel tapes, we unearthed additional material that Hudson and Davis produced together in the early to mid-80s. We're excited to share the previously unreleased tracks "Life's A Party," and "Walk Out On Me." The digital version of the reissue will also feature two more songs: "Red Drops" and "Pick It Up Off The Ground."

Shake It - Make It Loose is a classic boogie-funk album that belongs in every serious funk and disco collection. It showcases the undeniable talent of two true musicians and stands as a testament to the friendship between Reg Hudson and John Davis.

Back with a bang! "Road To Happiness" marks the triumphant return of Manchester"s one and only Dislocation Dance - after a 7-year long hiatus. The new album - their sixth - features ten new and fresh songs. Main songwriters Ian Runacres (guitar/vocals) and Phil Lukes (bass/vocals) most probably never sounded better. Kinda like Manchester"s Nile Rodgers & Bernard Edwards they create killer grooves a la Chic and The Real Thing. Melodies galore & disco euphoria plus beautiful vocals. To Love And Be Loved! Daft Punk meets Everything But The Girl. Ian Runacres formed DD in Manchester, and soon got trumpet player Andy Diagram on board who later joined The Pale Fountains and James. They created their unique mix of Post-Punk, New Wave, Jazz, Disco, 60s French Pop and Soundtracks. The band played their first ever gig at the legendary Factory in Manchester, recorded sessions for John Peel, Janice Long and Kid Jensen, and went on their own eclectic journey. Always maintaining their unique DD sound. Now they are back. With a truly fabulous album. On Marina - the perfect home for them. Let"s get (it) on... the road to happiness.

For this fifth album, the musical frequencies emitted by Vaudou Game have spread beyond the confines of the city and country, crossed the Atlantic, and reached Colombia. Drawn like magnets, tropical waves traveled along the equator from Latin America to Togo, arriving at the doors of the OTODI studio. They, too, wanted to join in and take advantage of its legendary analog equipment. Welcomed by Peter Solo, they weren’t the only contributors to the band’s renowned hypnotic groove.

The sedans parked outside tell their own story. From Lomé’s bustling market, the Nana Benz of Togo arrived to weave the delicacy of their beguiling vocal harmonies into call-and-response exchanges with Peter Solo. Meanwhile, Lomé Vio, a youth group whose instruments were provided by Peter during turbulent times, lent the strength of their trio of voice, guitar, and accordion.

Still operating under the supreme authority of funk guided by the esoteric and mystical essence of the Vaudou scale, Vaudou Game brings together the hands of highlife and cumbia in perfect unison. With guitars, percussion, horns, and future-vintage keyboards setting hips in motion or creating the most intriguing atmosphere, Peter delivers his messages hidden behind his iconic, inextricable mask. Whether political, human, or environmental, these messages are always wrapped in thick layers of sarcasm and humor, cleverly disguised to serve the exclusive purpose of joyful, dance-driven trance.

With the subliminal mantra to repay Africa—its people, its land—Vaudou Game calls out: FINTOU!

Boytronic was founded in the early 80’s in Hamburg by Holger Wobker (aka Bryllyant Berger) and Peter Sawatzki. At the beginning, under the moniker of Kapitän Sehnsucht, they were in charge of making the soundtrack for some seedy sex shows on Hamburg’s famous ‘Mile of Sin’. After a while, the boys found that not so satisfying and, through it was a well-paid job, they decided to leave hoping to break into the world of pop music as Boytronic. They already had some demo songs that got the attention of Mercury Records. The first single “You” was recorded highly influenced by the sound of New Order and Patrick Cowley. It didn’t go very well at the beginning. It was just a moderate club hit, but soon after they got lucky and performed “You” on a German TV Show. Just after this, sales reached 80,000 copies in the first week and had a major hit in the German charts reaching position 10. This sudden success was followed by the recordings of the debut album “The Working Model” that was finished in only fourteen days and released at the end of 1983. “The Working Model” is considered as one of the best techno-pop releases coming from Germany in the 80’s. An album more than 40 years old and still sounding so fresh and authentic.

Limited edition of 400 copies on black vinyl with gatefold sleeve, A2 poster and sticker. Includes all tracks from the original album plus some classic remixes of “You”, “Diamonds and Loving Arms”, “Trigger Track” and “Bryllyant”.

CALL ME IF YOU GET LOST: The Estate Sale is a limited edition 3 LP vinyl set that features Tyler The Creator’s original critically acclaimed CALL ME IF YOU GET LOST album plus 8 additional songs, pressed on Geneva Blue colored vinyl. The discs are housed in a triple gatefold jacket with embossed cover, foil detail and includes a 28-page booklet.

The definitive survey of America’s independent 70s soul scene, and a companion piece to Now-Again’s long-running Soul Cal series. “(Soul Cal) captures the retro-utopian vision of a past where every smalltown record store or garage in the US might have hidden a virtuosic funk outfit; the thrill of knowing that jobbing musicians might be getting paid for the first time; plus the bittersweet knowledge that those that passed on are getting deserved recognition. And all that before you get the thrill of the music itself.” - Wire Magazine. Compilation produced, annotated and researched by Eothen “Egon” Alapatt. Art direction by Errol Richardson. Mastered by Dave Cooley, Kelly Hibbert and Jason Bitner. Additional coordination by Tanner McCrary.

Rockin’ Berries – In Town plus bonus tracks
Birmingham’s Rockin’ Berries’ first album from 1965, originally released on the PYE label
A UK Top 20 album, it featured their Number 3 hit ‘He’s In Town’
BGO have added four bonus tracks: ‘What In The World’s Come Over You’, ‘Poor Man’s Son’, ‘You’re My Girl’ and ‘The Water Is Over My Head’, all Top 50 hits
Amazingly, the Berries are still Rockin’ with original singer Geoff Turton (aka Jefferson) still with the band
Digitally remastered and issued on 180 gram vinyl/300 gsm board
Also available on BGO Records:
BGOCD1440 In Town / Life Is Just A Bowl Of Berries plus EP tracks and A & B sides

David Gray ist zurück und macht das, was er am besten kann, und Fans von komplexem, ernsthaftem, lyrischem Songwriting sollten sich freuen. "Dear Life" ist vielleicht das tiefgründigste, seltsamste und schönste Album, das dieser bahnbrechende britische Singer-Songwriter je abgeliefert hat. Nach jahrelanger Arbeit ist es ein Album über emotionale Krisen und deren Bewältigung, über Sterblichkeit und Glauben, Realität und Illusion, Liebe und Herzschmerz, Magie, Wissenschaft, Verlust und Akzeptanz. Es ist voller Sehnsucht und Hoffnung, aber es gibt auch einen Unterton von Dunkelheit, eine Spannung zwischen den konkurrierenden Kräften von Hoffnung und Verzweiflung: eine Kavalkade von Emotionen in seiner bisher lyrisch fokussiertesten Sammlung. "Dear Life" ist das 13. Album von David Gray und "eine Sternschnuppe des Songwritings ... es schien einfach so, als wären die Götter des Songwritings gnädig gewesen. Die zweifelnden Stimmen haben sich nicht gemeldet." David Grays Geschichte ist mit keiner anderen vergleichbar. Er hat fast ein Jahrzehnt lang auf den Durchbruch hingearbeitet, und als er ihn dann schaffte, geschah dies auf die denkbar größte Art und Weise: das 1998 veröffentlichte "White Ladder" wurde zu einem der meistverkauften britischen Alben der letzten Jahrzehnte und etablierte ihn als einen arenafüllenden Künstler. Im Laufe der Jahre hat sich sein Songwriting durch seine natürliche Fähigkeit, bestimmte Emotionen, Atmosphären oder, wie auf seinem gefeierten Album "Skellig" aus dem Jahr 2021 zu hören, die Wahrnehmung eines Ortes zu vermitteln, nur noch vertieft. Während Leute wie Ed Sheeran, Adele und Hozier seinen Einfluss anerkannt haben, ist David weiterhin seinem eigenen künstlerischen Weg gefolgt.

David Gray ist zurück und macht das, was er am besten kann, und Fans von komplexem, ernsthaftem, lyrischem Songwriting sollten sich freuen. "Dear Life" ist vielleicht das tiefgründigste, seltsamste und schönste Album, das dieser bahnbrechende britische Singer-Songwriter je abgeliefert hat. Nach jahrelanger Arbeit ist es ein Album über emotionale Krisen und deren Bewältigung, über Sterblichkeit und Glauben, Realität und Illusion, Liebe und Herzschmerz, Magie, Wissenschaft, Verlust und Akzeptanz. Es ist voller Sehnsucht und Hoffnung, aber es gibt auch einen Unterton von Dunkelheit, eine Spannung zwischen den konkurrierenden Kräften von Hoffnung und Verzweiflung: eine Kavalkade von Emotionen in seiner bisher lyrisch fokussiertesten Sammlung. "Dear Life" ist das 13. Album von David Gray und "eine Sternschnuppe des Songwritings ... es schien einfach so, als wären die Götter des Songwritings gnädig gewesen. Die zweifelnden Stimmen haben sich nicht gemeldet." David Grays Geschichte ist mit keiner anderen vergleichbar. Er hat fast ein Jahrzehnt lang auf den Durchbruch hingearbeitet, und als er ihn dann schaffte, geschah dies auf die denkbar größte Art und Weise: das 1998 veröffentlichte "White Ladder" wurde zu einem der meistverkauften britischen Alben der letzten Jahrzehnte und etablierte ihn als einen arenafüllenden Künstler. Im Laufe der Jahre hat sich sein Songwriting durch seine natürliche Fähigkeit, bestimmte Emotionen, Atmosphären oder, wie auf seinem gefeierten Album "Skellig" aus dem Jahr 2021 zu hören, die Wahrnehmung eines Ortes zu vermitteln, nur noch vertieft. Während Leute wie Ed Sheeran, Adele und Hozier seinen Einfluss anerkannt haben, ist David weiterhin seinem eigenen künstlerischen Weg gefolgt.

A wonderful singer whose recording career lasted for only six years, Billie Poole (1929-2005) excelled singing both jazz and blues. Presented here is her second and last album, Confessin’ the Blues, on which she sings with the support of an all-star small group consisting of the Junior Mance Trio (with Mance at the piano, Bob Cranshaw on bass, and Mickey Roker on drums) plus guitarist Kenny Burrell. 180-gram VIRGIN VINYL LIMITED EDITION of 750 COPIES. The Complete Album + 2 Bonus Tracks.

We’re excited to welcome the prolific MOYA81 to Keynote or our debut release. Having closely followed his trajectory, we’ve seen him carve out a sound that’s unmistakably his own. Rooted in a retro-synth aesthetic, he blends industrial textures with playful, off-kilter elements, all punctuated by his signature robotic vocals. The result is a record that’s not only primed for the club but packed with personality.

Man of the moment Bruno Mars, currently the record breaking No.1 most listened to artist on Spotify, has his first two No.1 albums reissued on limited edition colour pressings.

Currently riding high with the 1 Billion plus streamed track with Lady Gaga ‘Die With A Smile’ as well as over half a billion streams for the debut single APT. with ROSÉ from Blackpink.

Doo-Wops & Hooligans Product Description

Limited Edition Neon Yellow Vinyl

Bruno Mars' chart-topping debut launched the singer-songwriter into superstardom and spawned a string of blockbuster hit singles including the No.1 singles "Just The Way You Are," "Grenade," "The Lazy Song," plus "Talking to the Moon," "Marry You" and "Count On Me" and has sold over 15 million copies worldwide, going 7 x Platinum in the UK.

Unorthodox Jukebox Product Description:

Limited Edition Neon Coral Vinyl

Bruno Mars' sophomore record has gone 3 x Platinum in the UK and features the smashes "When I Was Your Man" and "Locked Out Of Heaven," as well as "Treasure" and "Gorilla". The album presents a wide range of styles such as R&B, pop, reggae, rock, disco, funk and soul music, and includes production from Mark Ronson, Jeff Bhasker, Emile Haynie, Diplo and Supa Dups, as well as The Smeezingtons. The album has since sold over 6 million copies globally.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

Debut studio album by American female RnB/Soul trio Brownstone. Originally released by Epic Records in Jan '95. Featues the top 10 R&B hits "If You Love Me" and "Grapevyne," plus a cover of The Eagles' "I Can't Tell You Why". Executive production by Michael Jackson. This is a x12 trk, Double Black LP Vinyl. Marketing.

Following their groundbreaking collaboration with Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo.

Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds.

As always, there is a mercurial quality to their lyrics. The title track (translated as "I Do Not Know This Man") suggests at once Apostle Peter's denial and a poetic acknowledgement. On "C'est Normal" Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy – as if Areski and Fontaine beckon listeners into their strange and beautiful world.

This first-time domestic release continues Superior Viaduct's reissue campaign of Fontaine's classic '70s catalog.

This is Alextrem 02 repress... plus one unreleased tune

Backstreet Girls are 40! This Fall it’s 40 years since legendary Norwegian rockers Backstreet Girls played their first gig! Part of the Birthday celebration is this 4LP vinyl box set, titled 40 Years 40 Billion Beers. The three first records contain the best known tracks from all their 16 studio albums, plus some gems and rarities. The final record focuses on live recordings, made in the period 1988-2022. The box set will be printed in 1000 copies, on "beer coloured" vinyl.

Unreleased studio track, remix and live versions plus unreleased live songs attached to our South Africa 30th anniversary project.

In April 2023, scores of artists spanning genres & generations came together with Willie Nelson to celebrate the legend's 90th birthday for a once-in-a-lifetime event at the Hollywood Bowl in Los Angeles. This double LP on black vinyl, is the second volume of highlights from these two legendary shows. Artists performing songs from every era of his unparalleled seven-decade career include Willie plus The Avett Brothers, Edie Brickell, Rosanne Cash, Sheryl Crow, Rodney Crowell, Emmylou Harris, Warren Haynes, Daniel Lanois, Lyle Lovett, Jack Johnson, Jamey Johnson, Booker T. Jones, Kris Kristofferson, Lukas Nelson, Particle Kid, Orville Peck, Margo Price, Nathanial Rateliff, Keith Richards, Snoop Dogg, George Strait & Dwight Yoakam.

ÄÆ Sound is a new mysterious and futuristic silver dark project hailing from Milan produced and developed by Andrea Lazzari, a miscellaneous italian artist. ÄÆ, dropping a super groovy first track with a heavy kick, bass variations, and killer melodies perfect for the dance floor. The second track brings darker vibes, break techno variations, and well-crafted silver dark underground shapes. For the flip side of the record, ÄÆ for his very first EP launch developed two B Side tracks. The first one hits you with some UK groovy bass variations and hypnotic synths, plus some slick drum work and background melodies. The second one is a tool uk drum n bass track with a dark and futuristic sound.

DLR drops his first album since starting Sofa Sound Bristol - ‘Money Till I Got None’.

The album is a tongue in cheek reflection on modern life, society, politics and of course MONEY. The never ending thirst and need for it; the stress and freedom it can bring; its power, its illusion and all its contradictions.

Drawing on life experiences from a relatively privileged position, but also from travelling and meeting many types of people across the UK and worldwide, the album explores different perspectives about money from varying sections of society.

In the 7 years since his last album, DLR has been through highs and lows, played big shows, struggled, released classic tracks and spent, spent, spent, spent. 'Money Till I Got None' is his journey of frustration and realisation and his first fully solo album in terms of production, but with a stellar lineup of vocalists and musicians to bring invaluable perspectives and experiences to the project.

Established poets, story tellers and MCs such as Fox, Rider Shafique, Jakes and Gusto bring unique insight, upcomers Freddy B & Kathryn Brenna add crucial flavours and we welcome Hal (Snazzback) on keys plus additional musical direction, with further instrumentation from Abbey Neave & Joe Bradford.

Vinyl reissue of 2021 cassette release: Tokyo visionist Soshi Takeda’s second album took shape across eight months of the winter and spring, inspired by an iconic mid-80’s photography book of Chinese landscapes. Scenes of lantern-lit fishing boats on misty mountain lakes seeded a mood of hidden paradise, with ancient waterways snaking secret paths into the past.

Recorded at his home studio using hardware synths and samplers from the 1990’s, the six songs of Floating Mountains (plus digital-only bonus track, “Deep Breath,” from the 2nd Life Silk compilation) evoke shrouded vistas of liquid skies and shining lakes, like some Li River twist on Balearic half-light house. Shades of cosmic drift and crystalline electronica ebb and flow within the nocturnal pulse, pagodas and pearls reflecting the waning moon: “I hope you can feel the cool and exotic atmosphere.”

Lonnie Smith’s 1970 album Drives was a showcase of the organist’s sense of adventure and indomitable groove. With Dave Hubbard on tenor sax, Ronnie Cuber on bari sax, Larry McGee on guitar, and Joe Dukes on drums, Smith delivers funky takes on hits ‘Twenty-Five Miles’ and ‘Spinning Wheel’, plus a fleet version of Miles Davis’ ‘Seven Steps to Heaven’. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

New single with echoes of Slowdive, Lush and the Cocteau Twins. Limited edition 7-inch on Precious Recordings of London comes with free badge – plus an exclusive B-side. Download card also included – with a bonus 'Popkiss version' of the title track.

Blueboy continue their extraordinary re-emergence after 20 years of separation with a magnificent new single that hits you in the solar plexus and then forces you to sing along.

At various times, their guitar-led sound has been described as having echoes of bands like The Smiths, Slowdive, Lush and The Cocteau Twins.

Darkness, light and shade, melancholy and euphoria, sadness and joy are Blueboy's natural territory; in ‘Deux’, an anthemic chorus is juxtaposed with quietly spoken verses, mood and emotion driven by
ever-present guitar.

The thread of you, through everything, pulls me upwards … Could it be I'm not one; we are deux?



Blueboy first got together in the early 1990s and went on to build a global following, touring Europe and Japan and featuring regularly in the UK independent charts with a series of acclaimed singles and well

regarded albums.



Having reformed in 2024, founder member Paul Stewart was joined by Gemma Malley (now on vocals) to play in London, Cologne and Paris; their comeback single ‘One’ was launched at a triumphant full

band show in London where drummer Martin Rose and bassist Mark Cousens rejoined the team from the 1990s line-up.



Later this month, Blueboy will play to 45,000 people at the Joyland Festival in Jakarta along with Bombay Bicycle Club, St Vincent and Air

Live album celebrating the band's triumphant 2023 tour in support of The Feminine Divine, plus a selection of Dexys classics. Recorded across the course of the tour.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















[p] Touch Y'all (Remix) [feat. Sadat X]

"My Bed Is An Island" is the third single from The Chesterfields album "New Modern Homes". A live favourite on the recent tour dates, the vinyl 7inch version is limited to 300 copies worldwide and comes in a luxurious package of a classic 90s style indie fold-out sleeve in a memory game style, and two inlays including a full discography plus an album souvenir insert, designed by the Terrible Hildas.

Red Vinyl. Since emerging in 2015, Sextile have been a party-provoking force on the LA underground, capable of kicking up a riot with the raw-edged squall of a synth or the sharp-elbowed jerk of a guitar. Sextile are now ready to rage with a serotonin-boosting new album, a new group dynamic, faster BPMs, and an even wilder new direction. Recorded in Yucca Valley, Push bounces and bops at the fringes of hardcore dance music, with the hallmarks of drum & bass, gabber and trance illuminating the record like glowsticks at a `90s Fantazia rave. "Contortion" introduces the album with shadowy vocals from Keehn and a `00s-ready twist of dirty electro bass, setting the tone for the dance-punk rave-up that unfolds across 11 attention-grabbing tracks. There's plenty of historic teen angst and biting social commentary written into the album's vivid tales and misadventures. Balancing storytelling with face- melting synths that turn the tune into an acid trance character study, "No Fun" is penned from the perspective of a teenager trying to flee their town. A punk spirit underscores the album. The clue's in the name with "Crassy Mel," which partly serves as a high-energy dedication to `70s anarcho-punk legends Crass . The track's headbang - ing heft, vocal yelping, and Prodigy -shaped breakbeats accentuate the album's overwhelming sense of fun. Plus, the dreamy ambient wash at the end of the song is the ultimate palate- cleanser. Push was inspired by the kind of pleasure-seeking music fans whose social calendar comprises both the punk show and the rave. Josh Wink, Iggy Pop, Goldie, and early XL Recordings have all been namechecked as influences on Push , and the dancefloor remains a constant pres - ence. Repping their place of origin, "New York" brings these musical touchstones off the page, guiding the album like an acid-soaked lodestar with its grinning nod to "Higher State of Consciousness" and a whirlygig of music-box synths. There are still nods and "hellos" to the caustic post-punk of Sextile's earlier work. Sextile haven't relinquished their punk credentials, they've just given them a smiley-faced revamp.

In addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music.In this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording.

Seconds of Thirst, recorded in one session at Uli´s studio in Bavaria in early 2014, is truly a conjuring where distinctive balances come to gather. A deep drone unfolds patiently in a hypnotic manner, comprised by Werner's characteristic PVC clarinets, a hammered guitar played by Hohmann, and subtle electronic tones. Above all, Amelia's singing voice, filtered through the mirliton, drifts buzzing along the gradually shifting harmonic waves, meandering through serpentine melodic lines and microtonality.

In the middle pieces, vocals turn into an ethereal multi-layered chorus, an exotic and astonishing instrument pulsing delicate and vaporously, like a gliding silk sail without a mast to bind it. Misty ambiances linger on as the soft atmosphere disperses the weight of undelivered syllables. Just intonation aligns the pan-ney's winds with vocal navigation. Foe to scattering, hurry, and affectation, Clearing's pace has lifted a fog translucent enough to reveal treetops calmly appearing, efficiently condensing damp into definite drops that fall drumming, forecasting what's yonder.

With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of.

When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds.

Well-versed in vintage vernaculars, Oakland-based producer/musician Mike Walti is about to return with his sophomore offering under the Organi moniker – as new album “Babylonia” follows 2020’s “Parlez-vous Français?,” a landmark in vibe acquisition ever since.

Wyldwood Studios is a portal. It’s a secret gateway to analog spheres. Cross the threshold and you’ll feel the difference: you can pick any ol’ time, any place, any tongue or vibe, in fact. Hit the dancefloor in 1967, feel that plushy loveseat in the early 70s. It’s a welcoming place where better, saner vibes are still within reach. Fueled, at least in part, by those long-classic 12”s on the walls – just imagine the sepia-tinted countenance of Melody Nelson alongside actual Birkin sans wig, right next to Shadow’s immortal crate diggers, forever blurred –, and channeled through ancient time travel devices such as the MCI 416B only to arrive on classic 2-inch tape (MM1000 aka Ol’ Bessy), it’s a haven for all things organic, for all things imbued with that warm élan. Built and run by Oakland’s own Mike Walti, countless artists from many different genres have felt that flair, creating sonic spheres and moving back and forth along the malleable axis that is space-time. Capturing magic.

Emerging from this unique portal back in 2020, Walti’s aka Organi’s first studio album was a stunning answer to its titular question – “Parlez-vous Français?” It was a soothing, somewhat psychedelic trip so magnétique and alluring that it immediately brought back those bits of Franglais you never knew you remembered. Whereas the debut LP indeed felt like a spontané voyage to the French Riviera ca. 1968, its follow-up “Babylonia” is so much more than linguistic confusion and ancient Akkadian Rhythms. Using that hidden portal near Alameda’s finest port to access all kinds of remote regions and sonic spheres, it’s super tight and feels, well, decent, even though, just like the ol’ Babylon, it’s full of surprising tongues and dreams, schemes and melodies.

“Where do we go from here?,” someone asks in opening “Organii-“ – all majestically cinematic boom bap, buoyant bass, sick strings. A fittingly massive opener that feels like cracking open a cold one after long weeks at work (that ecstatic “ahhhh”), it perfectly sets the tone for another half hour of pure time traveling, globe-spanning bliss. Whereas that certain prédilection pour all things French makes “La Rockette” so tempting and tantalizing (think MalMalNonBien), the sophomore album’s Berlin-based guest singer Nana Lacrima soon takes us elsewhere: title track “Babylonia” spins ever so softly, like a magic lantern, with images of dreamier Stones Throw funksters or Savath y Savalas looming over the steady flow of an arrangement that washes you clean like an ancient, unpolluted River Euphrates or Brazil’s actual Amazon. A sexy Portuguese-flavored anthem, occasional guest singer Alix Koliha also enters the scene to add yet another layer of French chic to this Brazilian landscape. Next, we’re back at the Riviera, but the “Italiano” version of it, splendido sunsets and bell towers in the distance, the ragazze laughing and shaking it up, perhaps even some Portofino Gin so you can really feel that “me ne batto il belin,” as your fingers align form some half-serious “ma che vuoi?”

Tim Maia-penned “Padre Cicero” (1970) deals with the stunning transformation of the titular hero – “De reverendo a lutador,” and what a soaring, sensual hook –, and Organi’s take on Elephant Memory’s “Old Man Willow” (now an “Old Man Waltz”) perfectly underlines what Walti’s Wyldwood endeavor is all about: Easy-Going Experimental Dream Pop, fueled by Gainsbourg, Broadcast, Stereolab, etc.

Later on, even though something seems to be tres complique in “Remembering Anna,” it all sounds carefree like a spontaneous Friday afternoon with a bottle of fine wine. Right before the outro, key album guest Yea-Ming Chen (of Yea-Ming & The Rumors) returns to the mic, adding her dark and dusky trademark timbre to melancholy anthem “Pictures Of Your Face”. Reminiscent of Nico and Trish (rip & rip), it’s a track that’s both dark and strangely propelling, hypnotic and hip-shaking.

A third generation Bay Area native, Mike Walti aka Organi has been running Wyldwood Studios in Oakland CA for some 15+ years (recording artists like Tommy Guerrero, Spelling, Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A multi-instrumentalist who’s obviously in love with the 60s/70s, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr…”). Recorded and mixed by Mike Walti at Wyldwood, “Babylonia” will be released on vinyl/digital by Alien Transistor.

The first vinyl release by the Melbourne Soul / Funk trailblazers The Bamboos in over a year since their 'This Is How You Do It' album and UK / EU tour (which included two sold out nights at London's iconic Jazz Café) is something that guitarist / bandleader Lance Ferguson has wanted to do for many years: a Christmas EP!

This limited edition 7" comes in custom printed knitted Christmas sleeve that will rival even the most garish seasonal woollen jumper.

A side "Wrapt In A Beau" is classic Sweet Soul Bamboos style, recalling fan favourites such as "I Don't Wanna Stop" and "Golden Ticket", with a perfect vocal by The Antipodean Queen Of Soul, Kylie Auldist.

On the flip is the string drenched Funk instrumental "The Bells Of Holly Hill", which kicks off with a crisp breakbeat plus sleigh bells intro.

Paid promo service to Soul / Funk DJs w/wide for radio, club and online incl presenters on key radio stations such as BBC6, FIP France, KCRW.

LANCE FERGUSON "I'm never going to make an Xmas track without putting some sleigh bells in the mix, and you should see some of my yuletide knitwear...but for everyone who celebrates Christmas in the Southern Hemisphere it's something that falls right in the middle of Summer, flying in the face of much of that iconic festive imagery.

With these songs we thought we'd lean into some of those unique things that make a sun-drenched, snow-less festive season special."

Previous Bamboos seven inch pressings sold out straight away, so don't sleep on this.

Bruno Sanchioni unveils "Capture EP 3" on Art Max Records

Bruno Sanchioni, an icon of electronic music and creator of legendary projects such as Age Of Love and BBE, returns with Capture EP 3. This new EP continues the journey of its predecessors, promising a fresh immersion into his rich and innovative soundscape.

Capture EP 3 stands out with tracks that skillfully blend punchy acid lines with catchy melodies. Each piece maintains a hypnotic atmosphere while delivering surprises that captivate and enrich this work, showcasing Sanchioni's boundless creativity and mastery of electronic nuances.

This EP is a must-have for fans of authentic and innovative sounds, proving once again that the artist remains a cornerstone of the scene.


Bruno Sanchioni présente "Capture EP 3" sur Art Max Records

Bruno Sanchioni, icône de la musique électronique et créateur de projets emblématiques tels qu'Age Of Love et BBE, revient avec Capture EP 3. Ce nouvel EP s'inscrit dans la continuité des précédents, promettant une nouvelle immersion dans son univers sonore riche et innovant.

Capture EP 3 se distingue par ses morceaux qui fusionnent habilement des lignes acid percutantes avec des mélodies entraînantes. Chaque piste, tout en maintenant une ambiance hypnotique, offre des surprises qui captivent et enrichissent cette œuvre, témoignant de la créativité sans bornes de Sanchioni et de sa maîtrise des nuances électroniques.

Cet EP est un incontournable pour les amateurs de sonorités authentiques et novatrices, prouvant une fois de plus que l’artiste reste un pilier de la scène

Warehouse Find!

Detroit Swindle continue their incredible run of form with a cracking new EP for for their Freerange follow up, suitably entitled Unfinished Business. It's pretty fair to say that the Dutch duos 2012 Freerange debut helped cement their reputation as one of the most exciting young house music acts to emerge in recent years. Their relentless tour schedule and stream of quality EP's for the likes of Tsuba, Dirt Crew and their own fledgling label Heist are testament to their success. Remixes for the likes of Waze & Odyssee, Sowar and Medlar all did the damage as did their immense Boiler Room takeover session which sealed the deal for any skeptics. Turning to the fresh stuff, we see DS delivering three brand new originals plus we have a hard as nails (by our standards anyway!) remix from the enigmatic Crue.

Title track Unfinished Business sets the tone with a driving, shuffling, tech tinged beauty loaded with their trademark cut-up, MAW style vox samples.

Under The Spell drops next with a more low slung groove, rhodes stabs and breakdowns that are tried and tested for maximum dancefloor pleasure.

The B1 sees Crue step up for his hard hitting remix which brings a darker, raw edge to the EP with a bad boy basement feel and garage swing bringing some peaktime intensity.

Finally we close the EP with Woman, a track that's probably about as close as the DS boys get to a smooching torch song. Lush pads and strings bring a deeper vibe to proceedings but the female spoken word samples keep the energy high and ensure things never stray too far from the floor.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) [feat. Sadat X]

To celebrate the 30th anniversary of bob sinclar"s iconic label, Yellow Productions, step into the catchy world of the french touch with an exceptional and limited boxset with 3 LP vinyl records plus a poster. Discover hits, unreleased nuggets and rare tracks ranging from house to trip-hop, jazz and hip-hop. Discover some of the biggest names on the electronic music scene : Like Dimitri From Paris, Dj Gregory, Kid Loco, Martin Solveig and David Guetta!

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

"Aguaturbia" (1970) is an essential album to understand the construction of what we know today as Chilean rock. This very influential album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. It comprises original compositions and electrifying renditions of songs brought to fame by the likes of Tommy James & The Shondells, The Beatles and, of course, Jefferson Airplane elevating these classics to new heights of intensity and rhythmic allure. We are thrilled to make this outstanding LP available again after many years out of stock. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late 60s and early 70s. Their influence in their native Chile -and beyond- was groundbreaking. It was played live in 1969 on 3 tracks, and it became an icon of transgression due to its unbridled musical aesthetics and cover art that - for the time of its irruption - meant a clear defiance of the conservative logics lived in Chile, which saw in the nudity of the cover a challenge to morality and good manners. The album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Guitarist Carlos Corales shines and when he played solos at the gigs, the effect on the audience was silence and euphoria at the same time, they couldn't believe what they heard. Everything was done with a professional attitude. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. The LP showcases breathtaking moments, like Willy Cavada's masterful drum solo in 'Ah Ah Ah Ay' captured flawlessly in a single take. Dive into the sensual psychedelic journey of 'Erotica,' where Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar. Plus, don't miss their thrilling renditions of 'Somebody to Love' and 'Crimson and Clover'-each track elevating classics to new heights of intensity and rhythmic allure. This album is more than music; it's an invitation to experience sheer auditory bliss! "Aguaturbia" is an essential album to understand the construction of what we know today as Chilean rock.