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Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.

'Broken Toys' showcases the prodigious talent of Eshan Gopal andcaptures the essence of 70s soul and disco, yet it sparkles with more than enough retro-futurist fireworks to light up the pop horizon.Arranged and performed to perfection, this soulful track delivers feel good nostalgia and is elevated further by the young lead singer voice, which can only describe as the king of pop's second coming.

Carrying heartfelt messages about love, moving on and growing up, coupled with warm and uplifting instrumentation; 'Broken Toys' is a breath of fresh funk and soul without being marred by controversy. Its pure, exciting and enjoyable music for any age and The Tribe of Good have totally nailed down every element of this soul groove.

On the flip of the vinyl is a 'Percapella' which features these stunning vocals layered with a stripped down percussion backing. Offers a weapon clean enough to shake things up in your DJ mixes.

The Tribe of Good are the secret weapons behind your favourite chart hits. The super group steered by Grammy-nominated producer Hal Ritson (Chemical Brothers, Katy Perry, Duke Dumont, High Contrast) features an array of producers who have worked with the likes of Nas, Cee Lo, Taylor Swift, alongside a cast of musicians such as Basement Jaxx singer Vula Malinga and Jamiroquai guitarist Rob Harris to highlight a few.

Albert’s Favourites co-founder Adam Scrimshire is set to release his fourth album 'Listeners'. Musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

"With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
- Adam Scrimshire

Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Ronin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

Preceded by singles 'Thru You' featuring Georgia Anne Muldrow and 'Life Is Valuable' featuring James Alexander Bright; 'Listeners' is set for release on LP and digital formats via Albert’s Favourites on 19th July 2019.

DJ Support / Press:

Huey Morgan (BBC Radio 6 Music)

Jamie Cullum support on BBC Radio 2

Jamz Supernova on BBC Radio 1Xtra

Thru You Premiered By Mary Anne Hobbs on BBC 6 Music “So Beautiful

You just can't keep a man like Carlton Jumel Smith down. This time around we get another soulful K.O. from his debut album in the form of "Love Our Love Affair", a mid-tempo groover drawn from that sweet well of southern soul.

One of the fortes of Carlton's "1634 Lexington Ave." LP is that it flows along as an entity but also revels in the strengths of its individual parts. This fourth single brings out another stylistic strain from Carlton and Cold Diamond & Mink's repertoire. After the tight intro and the vibraphone licks have set the scene there are twists and turns plus some classy action from Jukka Eskola on trumpet, did we mention the instrumental on the flip side?

This single might be just the thing you needed to jump start the morning or blast in your Sunday evening radio show.

The Artist
When P.P. Arnold arrived in London on September 23, 1966 to support The Rolling Stones as one of Ike & Tina Turner's backing singers,
The Ikettes, little did she know that her world was about to be turned upside down. The shy but vivacious 19-year-old caught the eye
of Mick Jagger, who would persuade her to stay in London and record as a solo artist – ultimately leading to a five-decade career
working with everyone from Jagger, the Small Faces, Rod Stewart, Barry Gibb and Eric Clapton, to Nick Drake, Peter Gabriel, Roger
Waters, the KLF, Paul Weller, Ocean Colour Scene and Primal Scream, to name a few.
Five decades after she became a '60s icon with the timeless pop hits 'The First Cut Is The Deepest' and 'Angel Of The Morning' on
Rolling Stones manager Andrew Oldham's ultra-hip Immediate label, soul singer P.P. Arnold is set to release a double-album of stunning
new material featuring contributions from, among others, Paul Weller, Ocean Colour Scene's Steve Cradock, The Specials and P.P's
songwriter son, Kodzo.
“I've been a fan of P.P. ever since hearing 'The First Cut', and then 'Tin Soldier'. Her voice is still as great as it was when she was 18/19
years old! Steve Cradock has tried to keep something of the early Immediate Records sound on this new record, whilst still sounding
fresh, and it is for me one of the finest in her collection” – Paul Weller
The Product
“It's great that I'm coming back with this record,” says P.P. “Even now, I'm still finding my way, because the industry changes every
decade, and you're sometimes out of the loop. For me it's all about faith, meditating, love, praying… try to be ready and don't give up
the fight. That's the message.”
'The New Adventures Of P.P. Arnold' was recorded and produced by life-long P.P. enthusiast, Ocean Colour Scene star and Paul Weller
band guitarist Steve Cradock at his Kundalini Studio in Devon – after a 51-year gap in P.P. Arnold's recording career.
The beginnings of the album - spanning classic orchestral soul ('Baby Blue', 'Finally Found My Way Back Home'), sunshine pop ('The
Magic Hour'), house music ('Hold On To Your Dreams'), a spinechilling gospel elegy inspired by her daughter's death ('I'll Always
Remember You'), two Paul Weller originals ('When I Was Part Of Your Picture', 'Shoot The Dove') and an epic, edgy 10-minute reading
of Bob Dylan's poem 'The Last Thoughts On Woody Guthrie' – can be traced back 25 years to 1994. Worldwide tours with Roger Waters
put the project on the backburner, but when Cradock rediscovered the tapes during a house move four years ago, both parties were
excited about the prospect of finally completing an album. And so they did.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

KZN005 sees Silas & Snare return to the Kaizen fold with the three-track 'Pressure' EP. Lead track 'Pressure' is a continuation of Kaizen's recognisably weighty bass-inspired sound, carried by hefty kicks and screwed synths after a lengthy cosmic build-up. A downtempo influence runs through 'Dreamscape', the floaty synths countered with skittering drums, while EP closer 'Whistle Blower' is packed with industrial percussion and creepy bleeps made for those heads-down, screw-face moments on the dancefloor. This EP comes three years after Silas & Snare's Kaizen debut, 'Biometric'. Gear up and get ready for some 'Pressure'!

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 4 Help Me (Save Me From Myself) [Instrumental]

Blueboy’s first and now legendary album finally reissued by Australian label A Colourful Storm. Presented for the first time on vinyl since its release in 1992, the recording by Keith Girdler, Gemma Townley, Paul Stewart, Lloyd Armstrong and Mark Andes is immortalised in Sarah Records history as an evergreen of indie-pop and modern DIY. “…the sort of feelings that rarely escape from the Sarah daydream factory” wrote NME at the time. Long overdue reissue with original artwork faithfully restored by Sarah Records’ own Matt Haynes. Full colour reverse-card sleeve with printed insert and lyrics sheet.

Label Quote "Turquoise Colored French Tourists are back with six pool-party essentials for your next lousy bathing event in your parents' backyard. Early support by everyone you know and your mama"

Short Info:
Turquoise Colored French Tourists release their Pöseldorf Poolparty EP, a 6 track extravaganza of high end production, House music know how mixed with Funk and a flair for live drum sounds which elevate this EP.

The artists behind this - Scharbatke and Bias joined forces having met years ago in their favourite bar Goldengrün and agreed after a few gin's to establish the live performing House music super group Turquoise Colored French Tourists. With their differing backgrounds both coming to play in this EP, adding a depth to the groove.

This record is essential for the most in the know Poolpartys, for the most exclusive parts of town - we begin the EP with the title track, motes of DamFunk and a truly groovy opener that should loosen things up nicely as the still hyper funky but more straight up and dance-able Altona im Sonnenschein carry's us onwards.

Crepes takes us deeper, Housier but still with a tweaked aesthetic that marks this out from others. A true adventure in jacked rhythm. The EP continues to turn gently into the more filtered House vibe with Spätfolgen, whilst not forgetting its funky roots with Jameson. The latter bringing a slight 80's touch to the vibe - if there is one thing this EP does well its keeping it fresh at each and every turn.

Closing the EP "Feels so good" lets the melody flow a little, warm and inviting with a little bit of everything that has come before it.

At WNCL HQ, we’ve been hanging tough with new kid on the block, STAVROGIN (Stray Landings, 3BS, Last Drop) who has blown our mind this time

He provides 3 fresh original tracks in follow up to his recent debut appearance on We Are Family Vol 4. Remix duty is taken care of by fellow Cassette Librarian and breakbeat scientist, LMAJOR who comes through with the right stuff...

Prolific multi-instrumentalist, producer, DJ, band leader, and 22a label founder and boss, Tenderlonious returns with a batch of new and old studio productions.

'Hard Rain' follows hot-on-the-heels from the acclaimed Ruby Rushton album 'Ironside', but whereas contemporary urban jazz was the focus there, Tender's solo record marks a return to another of the multifaceted artist's skills: dope house and beat music that oozes futuristic funk.

This sparse but perfectly-populated masterpiece takes inspiration from J Dilla and echoes elements of vintage Blaze, Larry Heard and Carl Craig. Warm and soulful, but also spacious and clean, Tender extracts maximum flavour out of just a few ingredients.

The collaboration between influential German artists Klaus Schulze and Pete Namlook led to the famous The Dark Side of the Moog series. The fifth volume in the series consists of the song “Psychedelic Brunch”, split into 8 parts. It’s one of the calmer albums, featuring Bill Laswell as an extra composer. It starts with a 14-second intro by the master, Robert Moog, himself. The sound design is amazing and offers everything from ambience, atmospheres and sequences. The mellotron and psychedelic parts showing the different perceptions of the composers.

The pioneering composer Klaus Schulze created over 60 albums during his career, which started back in 1969. Pete Namlook is another German composer, who played an important role in the increasing popularity of electronic music.

The collaboration between influential German artists Klaus Schulze and Pete Namlook led to the famous The Dark Side of the Moog series. The sixth part in the series offers more of their breeding music, although it’s one of the more experimental records from the series. The Final DAT starts with distorted text fragments and during the different parts of this recording an amount of techno is added to the musical layers. The volume shows the different directions the two composers headed two during their careers.

The pioneering composer Klaus Schulze created over 60 albums during his career, which started back in 1969. Pete Namlook is another German composer, who played an important role in the increasing popularity of electronic music.

We adore Big Star and Alex Chilton more than words can express. Being able to present two of Alex’s staggeringly beautiful demos on vinyl for the first time (on a cute picture sleeve 7", no less) is an absolute honour for us at Be With.

“It Isn’t Always That Easy” and “If You Would Marry Me” both sound like templates for some of Alex’s best-known Big Star numbers. These demos come from the transitional recording sessions he made with Terry Manning at the Ardent studio in 1969, but were missing from the vinyl version of the wonderful Free Again compilation that was released in 2012.

Caught between the end of the Box Tops and the birth of Big Star Alex’s song-craft was already remarkable - as these demos prove - and this release represents a fascinating, exploratory period in the career of one of pop’s most enigmatic talents.

“It Isn’t Always That Easy” is the real knockout. A tender, acoustic ballad that, stylistically, could have appeared Big Star’s “#1 Record”. Yes, it really is that good. A deeply affecting, ruminative lament that explores the ravages of Alex’s short career to date, it is also one of the sweetest and most delicate melodies he ever wrote. A song this stunning shouldn’t just be kept for the Big Star completists.

Over on the flip, “If You Would Marry Me” finds Alex in earnestly romantic mode. It’s just him and a piano, albeit one that is played in a poppy, uplifting fashion to complement the optimistic mood: “I could make you feel so glad inside and so alive” he confidently declares. It’s quite the gem. It really should be mandatory for this to be played at every wedding.

Unfortunately there seem to be no photographs of Alex from around the time he was making these recordings. But luckily we were put in touch with Pat Rainer who was photographing the Memphis music scene that Alex was still part of a few years later.

Happy to be described as “a friend with a camera who was hanging around”, Pat’s candid pictures of Alex included one of him asleep on the floor of the Ardent studio. Even though the photograph was taken 9 years after the demos were recorded, we think this intimate portrait makes a fitting cover for these equally intimate songs.

TV Victor was one of the first artists of Tresor Records where he became legendary with several of his ambient and trance productions including Trance Garden 1-3 and Trancecology Chapter 1. In 1989, he launched his first solo project: Moondance - The Magic Sound of the Moon, where he lay foundations for later explorations with experimental sounds fused with pop elements and anticipated an ambient excursion to be had in the future.

In the following decades TV Victor created impressive solo works that traversed between ambient and trance, he collaborated with artists like Moritz v. Oswald, Max Loderbauer, Ari Benjamin Meyers, Paul Browse and Tobias Freud. Contrary to common mainstream tendencies he created a very unique interpretation of both genres. In recent years Victor has concentrated on creating experimental and abstract sonic spaces for escaping reality, spaces that live through the imagination of the listener. Each piece, a segment of a larger musical movement; stands alone to create new sonic continuums. Otherworldy music that is in its own sphere.

30 years after the release of Moondance and 50 years after the first landing, Lullabies For Insomniacs revisit TV Victor's musical roots with 'Back To The Moon'. The previously unreleased works were carefully selected from his vaults and restored by Berlin based engineer Brett Olke (B Ashra), the album offers a glimpse into the future by creating a soundtrack for mankind's settlement of beyond in a conceivable hereafter.

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

When the Tramp Records crew read the internet-sweeping spam/story of Nigerian Astronaut and Air Force pilot Abacha Tunde, they knew that they had to spring into action to help this unfortunate fella out. Dr. Bakare Tunde, the cousin of Abacha Tunde explained the situation as follows: "My cousin was the first African in space when he made a secret flight to the Skylab Space Station in 1979, shortly before it crashed to Earth. 19 years later he was on his second spaceflight, this time to a secret Moon Base located on the far side of the Moon. In 1999 his crew members returned to earth, but his place was taken up by return cargo. There have been occasional supply flights to keep him going since that time. Although he is in good humor, he wants to come home, now, after 20 years in space."

After this hilarious story the idea of a compilation album was born - and "Trip To The Moon" is the result. The goal to raise three million dollars to cover the cost of Abacha Tunde's return flight may never be achieved. Nevertheless, a 41 year experience in the music business is the basis for a fantabulous track listing of 11 amazing and highly underrated Rare Grooves about the Moon!

The Swinging Astronauts open the set, followed by La La Wilson's equally great rhythm & blues rocker "The Moon Man Is Back". With The Moon-Dawgs, this album makes a slight turn into the 1960s garage rock era while Hase Cäsar (backed by none other than the famous Ingfried Hoffmann and his orchestra!) contributes one of two songs of german origin. Now it's time for some funk: Rev. Jamel & Bob Johnson's "Walking On The Moon (Men Are Starving)" criticizes the US government for spending millions of dollars for their space program instead of supporting their own people. "Mars in 75" is deepfunk at its best although some may lament the lack of production. Sidney Ownen's breakbeat-laden "Sputnik" is sought after in collector's circles and needs no justification as to why it is included on this album. Ernest & D.L. Rocco's "Moon Child" is our personal favourite, closely followed by the hypnotic groove of "Mondgesicht" by legendary german saxophonist Ambros Seelos. Scott Cunningham's name should ring a bell as he was featured on several Tramp compilations over the past few years. Finally, the album closes with a psychedelic folk track titled "Voyage To The Moon".

Tramp Records is absolutely convinced that this album will surely be the best way to shorten the wait for Abacha until a rescue space mission finally brings our African soul brother back home.

Key selling points:

- deluxe gatefold LP with detailed liner notes and unseen photographs
- the vinyl LP comes with a full album download code
- most of the songs appear on a 12" album for the very first-time

“True Lies” was originally released in 1999 on Daft Records and showed Dirk Ivens (The Klinik, Absolute Body Control) once again changing the game to create another refreshing and groundbreaking album. Suggestive industrial with distorted vocals, metallic rhythms and noises perfectly balanced with up tempo dance beats and technoid rhythms.

Production on this work is shared with the talent of Ivan Iusco (Minus Habens Records, Nightmare Lodge) and Eric Van Wonterghem (Insekt, Monolith).

"True Lies" is available for the first time on vinyl record with all original songs plus extra tracks from the singles "Two Faced Man" and "Broken Meat", some old compilations and a bunch of cover versions to classics by Suicide, The Normal and The Klinik. Limited edition of 550 copies on double blue colour vinyl with gatefold sleeve, printed inner sleeves and numbered card.

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

japanese living legend electronic producer “takayuki shiraishi”,it’s a collection of his unreleased materials in late 80’s. he has started the career as his unit “BGM” on most reevaluated japanese experimental label “VANITY RECORDS”. one&only the album “BACK GROUND MUSIC” have been one of the most demanded japanese new wave record. the album is unique mixture of dark new wave, post punk,kraut rock and experimental electronic music. the first reissue of “BGM/BACK GROUND MUSIC” is coming this autumn.

Elina Shorokhova aka SOELA is a multi-talented artist hailing from southern Russia who now calls Berlin her home. It is there where she continues to build her presence in the community through her live and DJ sets alongside documenting the local scene and artists through her lens as a photographer.

LILY EP may be 4 tracks but as a collected whole, sounds and feels like an album when heard from beginning to end. The title track emits her talent as a pianist by setting a tone of gracefulness that is carried throughout the EP – broken beats float in and out of dub drenched ambience that flows with cascading vocals. CLOSE YOUR EYES echos a spirit of Detroit House with refreshing new intensities. Again, her vocals caress the track but as an incredibly catchy hook. WHITE BECOMES BLACK shows her own interpretation of dub techno and combines that into a classic house beat. I HAVE A DREAM sounds like she bridges all of the previous track elements into a single whole which makes this tune the perfect closing track for any DJ set and of this release. A steady low-end groove keeps the ricocheting snares and somber synths cruising to an up-tempo rhythm.

Colombian Techno powerhouse Gotshell unleashes a barrage of his signature, twisted, bone-shaking, analogue techno bombs for 'The Draft EP' on Suara with remixes from label head Coyu and Argentinian producer Flug.

Firstly, the A side houses ‘Pears Cosmic’, a swell of glitches, thunderous kicks and rave stabs at a fever pitch pace and secondly '19 Caracteres’ a sci-fi blitz, comprised of killer drum programming, modular bleeps, zaps and urgent surges.

Flip it over to find Coyu’s reinterpretation of ‘The Draft’, reworking the drums, adding rapid-fire claps into the mix and leaving the trance stabs out for a more heads down approach. Finally, Flug takes on ’19 Caracteres’ focusing his remix around an atmospheric echoing synth line, punctuated and interspersed by the original’s glitchy sounds.

The much anticipated follow up to January 2018's 'Season 1' album, which sold over 12k on vinyl and over 6.5k on CD. Formats are double black vinyl with bonus 7"and standard CD. Both formats feature 16 songs. Artists include The Who, Madonna, Howard Jones, The Pointer Sisters, Wham, REO Speedwagon, Teena Marie, The Cars, John Mellencamp, Vera Lynn, Foreigner and more (full track list still TBC). Co op advertising across Netflix. Ads, features and reviews across all press. Online/social media activity. Poster campaign and database mailout. Vinyl format released on July 26th.

This year, First Word Records celebrates its fifteenth year in the game. The year commenced triumphantly with First Word being named "record label of the year" at Gilles Peterson's Worldwide Awards 2019. Over the past six months, we've seen new music from 14KT, Souleance, Myele Manzanza, Teotima, Don Leisure, Children of Zeus and a range of artists across Europe, on the 'Music! Musik! Musique!' compilation.

To commemorate the 15th anniversary, First Word has a series of releases in the works for the second half of the year which see collaborations by artists from the label's current roster. To kick off, we have this special double-AA sided 7" single featuring Darkhouse Family, Kaidi Tatham & Tyler Daley.

Darkhouse Family consists of two Cardiff beatmakers & musicians, Earl Jeffers - founder of Melange Records and producer of 'A Library Excursion' from 2018, and Don Leisure, who recently provided us with 'Halal Cool J', the beat-tape sequel to 2017's 'Shaboo'. Over the years they've had releases, solo & individually, on Fat City, Metalheadz & Earnest Endeavors to name a few, bridging the gaps between various strains of dance music, beats and hip hop, with the organics of jazz and funk. Recently making noise across the UK with their new live band, and production work for the likes of Kamaal Williams, this is their first new release since their highly-acclaimed 2017 debut album 'The Offering' & subsequent remix project which also featured DJ Spinna, and one Kaidi Tatham.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. His endless contributions have included Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more. Dubbed by Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince. He can play most things, and play them well. Providing flute duties on this track, he also graces the flipside with a full "flutestrumental" version. Aside from numerous other projects, Kaidi released three EPs on First Word to date, 'Changing Times', 'Hard Times' and 'Serious Times', and an album last year, entitled 'It's A World Before You', which featured daddy of 2000 Black, Dego, son of Jazzy Jeff, Uhmeer and Children of Zeus, Konny Kon & Tyler Daley.

Tyler Daley hails from Manchester, alongside son of Zeus, MC / DJ / beatmaker, Konny Kon. Somewhat of a veteran in the game, Tyler is currently one of the most-recognisable talents in the British soul scene, also lending his talents to dance music royalty along the way, including the likes of Goldie, Zed Bias, DJ Marky & Lenzman. With Children of Zeus, the duo have had a whirlwind 12 months since the release of their debut album 'Travel Light', performing shows across the globe & gaining new fans daily. The record was named "album of the year" by Complex magazine and BBC 6 Music's Huey Morgan, amongst a number of other notable tastemakers & selectors. Hot on the heels of the 'Excess Baggage' EP, Tyler laces this one with his inimitable brand of bars and soul.

A veritable super-group amongst the First Word stable, this low-slung slinky joint sees the guys work up a unique blend of jazz, soul, beats and hip hop - guaranteed to go 'All The Way'…

'All The Way' is released on First Word Records on July 26th 2019, limited 7" vinyl & digital.

Produced & mixed by Darkhouse Family

Vocals by Tyler Daley (Children of Zeus)


b B1. All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]

“Stop here!” exclaimed Robert Oumaou as we passed a mango tree on the side of the road just outside of Point-a-Pitre, the balmy capital of Guadeloupe. He filled a plastic bag with ripe fruit, and we set off on our journey across the small Caribbean island in search of musicians he hadn’t seen in years. On the way, we shared stories in broken French and English, stopping at truck stops to eat delicious fried fish. Robert took me to his hometown, and placed a mango and a flower on the grave of his teacher and mentor, a local poet. The seeds of Vwayajé (Traveller) were sewn on this trip, but shortly after returning home, I heard that Robert was ill, and he sadly passed away in 2018. This compilation was originally intended as a way to share Robert’s brazen work with a wider global audience, but it now also serves to immortalize his indomitable spirit.

Gwakasonné is the ecstatic articulation of Robert Oumaou’s artistic and political vision, a unified expression of his interests in American jazz, pre-colonial rhythms, Guadeloupian independence, and Créole poetics. Over the course of three albums, all released in the 80s, Robert piloted a revolving cast of musicians, a venerable who’s-who of Point-a-Pitre avant-jazz pioneers, to deftly intone his creative communal concepts. The songs on Vwayajé are compiled from these three releases, Gwakasonné, Temwen, and Moun, along with an electronic mantra taken from his 2007 solo album Sang Comment Taire. Viewed from our current artistic and cultural landscape, Robert’s work is exceptionally enduring, grounded in its declarations of freedom and foundational use of the Ka (drum) and voice, and prescient in its borderless explorations of protest folk, electronics, ambient atmosphere, music from the African diaspora, and spiritual jazz. The long-form hive-mind expression of the group has parallels with similar explorations by The Grateful Dead, electric
Miles, Pharaoh Sanders, and even the Boredoms, but these are only oblique references for a truly peerless sound. Like other conceptual children of Gérard Lockel, the group was part of a progressive movement of like-minded musicians, such as Serge Fabriano, Dao, Erick Cosaque, and Gaoulé Mizik, who embraced Lockel’s modernist ideals, fusing Gwo Ka drumming and tuning systems with contemporary jazz and vanguard recording technologies. Robert’s ecstatic phrasings, embrace of electronic instruments, and daring lyrics set the group apart as the beatific expression of a sagacious soul.

canadian beatdown master “eddie c” is back with fourth full length on endless flight!

this new album is his unique mixture of laid back hip hop and lo-fi house sound which is inspired from late 80’s to early 90’s and much more darker than usual.

the album kick off by old school hip hop tracks of “carbondate”,in the park” then new wave disco sound of “way uptown” it reminds us nyc post punk/new wave artist “konk”,dubby brazilian percus-sive disco track “batucada”,”berlina” is early 90’s nyc house like pal joy, probably most club friendly track “bad words” is wired new wavy vocal house madness and the album close with dreamy down tempo track “an der wedding” heavy kraut rock influenced stuff.

hope you enjoy.

Japanese maverick ALTZ teams up with relative newcomer IGAXX for a wonderful debut on the new LADYBUG imprint...

Having released the superb 'Permanent Vacation' on ALTZMUZICA a few years back, the two made a musical connection that has come to fruition with their celebrated Star Child parties & this collection of mesmerising cuts.

Osaka born ALTZ has forged a genre-defying career both behind the decks and in the studio, always unconventional, he combines a wealth of influences into something genuinely fresh.

He capably takes the A side here, with 'Ottie' a loose, musical and low-end heavy Theo style jam, while 'Sly' is a gurgling synth-out.

Tokyo's IGAXX steps up for the flip, with the atmospheric and intricately realised 'Sonorama' leading the charge. 'Minotaur's Dish' presents us with another exquisitely layered number, with aquatic undertones and a hypnotic appeal. Finally 'Unnn' leaves us with another beatless synth exchange, ending what has to be one of the strongest debut 12's we've heard in a while !

SHELVED RECORDINGS 2.2

The second part of the two part set from SHELVED RECORDINGS !

Returning to a brief but very fruitful period in electronic music production, Shelved Recordings exists to look back to the golden age of the remix, with a clear view of the future it imagined.

Artists who were steered towards maverick producers, with a view to changing the rules, to re-defining the terms of what modern music should and could be.
Pioneering techniques, over-dubs and an exploratory period of pop production, resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the the hedonistic label managers who commissioned them.

Carefully reconstructed and rebuilt lost classics from someone who was there the first time around !








One limited vinyl press only

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Two outstanding performers, Carlos Santana and Alice Coltrane, collaborated to record their fantastic trip through time called Illuminations. Santana’s interest in the Indian culture and different musical styles led him to the musician Alice Coltrane. They shared their vision of expressing their spirituality through music. Illuminations is the wonderful outcoming of the work they recorded together. Guitar, harp and saxophone forming the strong basis on which this album is founded. “Angel Of Sunlight “is the album’s centrepiece, showcasing the outer limits of their musical ideas. It was Santana’s ultimate trip into the jazz, as he stepped back into the commercial music only a few years later. The package includes an insert.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

Robin Ball's Memory Box builds on the success of early releases with a big new outing that features two of his own tracks and one from the legendary Luke Vibert. Memory Box is a party that has hosted Derrick Carer, Trevino and A Guy Called Gerald among others, and is a place to hear proper acid house. Ball himself is a master of the genre and most often released on his own Groovepressure label, having been making music since his teens. Now his latest labour of love is once again reaffirming his status as a vital voice in the UK scene. Luke Vibert has a rich history that makes him a key part of the UK's dance counterculture over the last 30 years. His always animated music is wild and inventive and comes on greats like Mo Wax, Warp and Planet Mu. Here he offers 'X to C', a wild melange of warped synth tones, grizzled basslines & acid flashes. It will twist and turn the dance floor inside out. Robin Ball's excellent 'Gripper' is a corrugated bit of electric house music that never sits still. Pensive pads in the background are offset by a busy lead synth line and old school stabs that make it a perfectly timeless, energetic fusion of moods and grooves. Lastly, Ball serves up 'The Edge,' a brilliantly brash cut with stepping acid sequences, raw drum work and warped bass that distills decades of UK music into one essential track. These are three devastating club cuts that expertly draw on the past, present and future of acid.

More golden era heat from the nervous vaults! It keeps coming!
Another stripped back, rough & raw banger from the vintage mid-90's output of Brooklyn's Black Moon crew, a legendary group.
'Powaful Impak' . still sounds super heavy today, a swirling mixture of dancehall vox, Busta samples and ultra raw and banging SP1200 loops courtesy of the mighty Evil Dee & Mr. Walt aka Da Beatminerz. Nobody comes close to the ferocity of this, super hard, street level hip-hop that encapsulates NYC beautifully, ultra gritty! Throw on your timbs, Carhartt jeans and jump the turnstyle to this right here. Essential vintage rap, instrumental included. Cop that.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Packaging: CD / 2x 180g purple vinyl / hardback 12” gatefold book with glued pocket holding 2x 180g purple LP and 24 page 4 colour booklet.

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.

In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.

After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.

Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity.

In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin.

The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s ""The Canon,"" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.

Though the music – propulsive and spacious – is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies – through ecstatic, contemporary sound and synthesis – that the origins of Western thought, and civilization itself, lie in the great beyond.

Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2.

A collection of contemporary reggae, dub and electronica, which marks a broadening of musical horizons for the label beyond reissues of lost African guitar dance music. The LP covers a range of Jamaican inspired sounds, including roots reggae, dancehall, dub and jungle, which may act as a taster for potential future releases.

Due for release in July 2019. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music. Steve Barker plans to review for The Wire magazine

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

One of the musical highlights from Louie Vega’s NYC Disco album, “Rebel Nation” is a collaboration between grammy award winner Louie Vega, legendary multi-platinum producer Patrick Adams, and Nulu Records president, international DJ and artist Anané. Patrick initially had the idea for the song after seeing a recent Star Wars movie. Louie saw the vision of what it could ultimately be with live music additions, and Anané added the inspired lyrical content and vocal performance. In Louie’s own words, “I call Anané a chameleon, because she transcends so many different sounds with her voice. She gave the track just the right feeling vocally. It’s a very punk-rock approach; the kids speaking out, all kinds of people making the statement, Get Up! Stand Up! Let’s Rise! Rebel Nation.”

Lauded critically and on dancefloors worldwide in its original album version, the track has now been given the all-star remix package treatment with contributions from Danny Krivit, Carl Craig, Soul Clap and Felix Da Housecat X Chris Trucher.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Founded by J.D. and A.D Burrise in 1970, the 9th Creation went on for almost two decades and released 3 albums and half a dozen singles that regularly flirted with the US Charts, getting them featured on Soul Train in 1975 and allowing them to tour North America and Japan a few times over. 9th Creation regularly shared the bill with Irma Thomas, James Brown, The Whispers, The Sylvers, The Main Ingredient, Con Funk Shun and many others.

The music that J.D, A.D Burrise and their 10-12 band members created was a perfect combination of West Coast raw soul, disco and funk that resulted in a religious fan following across the globe.
To this day, The 9th Creation has been sampled by Pete Rock & C.L. Smooth, Artifacts, Quasimoto, 3rd Bass, Basement Jaxx and many others.

9th Creation was undoubtedly one of the greatest funk band of the Seventies.

Past Due Records is proud to officially reissue the 9th Creation's essential full lengths and singles, carefully remastered and all in their original artworks. 'Mellow Music' is the most sought after 7' from 9th Creation. This single marks the band's new direction and was announcing an album that remained unreleased (more on that later). This single is a boogie funk gem and both tracks are pure monsters of heavy bass, synth, horns and massive vocals. A must have that'

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill).Recorded over an intense two-day session, 'Clap Your Hands' is heavily influenced by the classic soul jazz recordings of The Young Holt Trio / Young Holt Unlimited, and Ramsey Lewis, from who this group take their name. As with many of the classic Ramsey Lewis cuts this album was recorded live, capturing the rich inter-relationship between the players and leaving in some of that chunky room noise.

Claps your hands/Stomp Your feet was recorded during the sessions for the upcoming Album 'Clap Your Hands'. building on the template set by their eponymous debut album these tracks further explore the 60's soul-jazz of Ramsey lewis and Young-Holt and the latin boogaloo of Eddie Cano and Pete terrace. A-side 'Clap your Hands' opens with cowbell, handclaps and bass before drums and electric piano enter to carry the track onto the dancefloor. This is one for the Djs and it'll do the business in the clubs for sure, but, also perfect for a late night, sweaty house party - shoes off and beer in the sink. B-side 'Stomp Your Feet' is much more in the classic mod-jazz frame with a faster pace and funkier drums, but still with handclaps and electric piano to the foreground. Drummer Hobbs opens up 'Stomp Your Feet' in fine style, and The Lewis Express start to swing with a Ramsey-esque groover that's just made-to-measure for dancers. Everything comes together here, with a mid-60s Cadet record feel throughout. Both tracks were recorded live to tape and were recorded and mastered for a tougher sound perfectly suited for djs to fill a dancefloor.

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.

Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"

Velvet May returns on “ Tears On Waves” with the 4-
tracker EP “Unknown Bodies”.
This time he is joined by the live duo Years of Denial
and the northern-irish artist Autumns who delivered
their own interpretation and vision of the tracks in the B
side.
"Unknown Bodies" tell us a story, a contorted story of
lust and infernal gazes, yet divine that spread infamy
and glory, grief and bliss. A story of lost inhibitions and
sensations. A story of burning breasts. Now is the time
when each flower fades away like incense and sounds
and scents turn in the evening air.
“Bodies entwined 
Hearts resounding 
The shivers of sweat 
Coming and going”
The artist wants to show something. A natural desire
which finds its fulfillment in the body, but that instantaneously dies at the end of the sensations.
Sensations too much strong to last so much time. That’s
exactly why he doesn’t never renounce to let go his
inhibitions completely, having fear to be burnt, devoured
and thrown in the deep end.
On the B side, the original tracks find a completely
different vision, but especially a new light, leading the
listener to a different path of the same perverse and
twisted nature.
Years of Denial is the alter-face of French musician/DJ/
producer Jerome Tcherneyan and Czech performance
artist/DJ Barkosina Hanusova. With the use of hardware
combined with vocals and a plethora of dub devices,
YOD are re-visiting the dark corner of Post Punk,
Industrial music movement and rave culture. Its remix
fully distorts the mood, introducing a new color and
identity, juxtaposing acid sounds and sharp groove
elements. The vocal has a new touch, and processed in
another way, drags everything to it creating a vortex.
Autumns is the solo project of Christian Donaghey, from
Derry, Northern Ireland, an outlet for electronic post-
punk with a lethal pulse. He delivered a train-shaped
remix, making the bass line a key element for the whole
track and finding the perfect “carpet” where to express in
a powerful and straight groove, based on his beloved
Roland 707.
Label copy-credits
Written, produced and performed by Andrea Davide

Following the reissue of ZiadRahbani's "Abu Ali" album, Wewantsounds is pursue its exploration of great Lebanese music with the reissue of "Wahdon," released in 1978 by legendary Middle Eastern diva Fairuz and recorded during the Abu Ali sessions and including the Lebanese dancefloor cult classic “Al Bostah“. 1978 is a turning point for the Lebanese Diva. The 70s had seen her rise as an international star, playing sold out concerts in the US and in Europe, and appearing on national TV in France. She had had a long-lasting artistic collaboration with her husband AssiRahbani and his brother Elias (aka The Rahbani Brothers) who, together, had penned most of the singer's classics. In 1978, Assi who had suffered a brain haemorrhage in 1972 got weaker and the collaboration finally ended (together with their personal relationship). Their 22 year old son Ziad took over Fairuz's musical reins and set to work on their first album together, "Wahdon" ("Alone"), serving as her mother's producer, composer and musicaldirector. Wahdon typifies this key moment in Fairuz's career when she switched from traditional to more modern arrangements. The first side of the album encapsulates the more traditional side of the singer with such mesmerising songs as "Habaitak Ta Neseet Al Naoum" ("I loved you so much i forgot to sleep") or "Ana Indi Haneen" ("I'm Nostalgic"), filled with gorgeous arabic strings and percussion. The Second side though is a whole different affair. Recorded in Athens at the EMI Greece studio at the same time as the Abu Ali sessions, the two long tracksbrings a hipper, contemporary funk and disco feel that has made the album such a collector's item with DJs and diggers around the world. Clocking at almost nine minutes "Al Bostah" ("The Bus") tells the story a woman in love remembering a bus journey with her lover under a scorching heat, enhanced by an hypnotic uptempofunkified disco beat, while "Wahdon" brings a slower and jazzier underlay to Fairuz's superb singing. These tracks shocked some of the diva's fans at the time but they've since passed the test of time and have become highly sought after. Whadon has since become both aclassic Fairuz album and a cult ZiadRahbani production that Wewantsounds isdelighted to bring to a wider audience for the first time.

Following Jaguar Mirror [c.2016] and Night School Of Universal Wisdom [c.2017], psychonaut Thunder Tillman and his personal shaman Pontus deliver another sublime EP, completing an illustrious trilogy with arguably their most expansive work to date, Condor Sunower. The title track is emotionally overwhelming, a drum procession that carries a righteous battle hymn to epic heights, accumulating primitive instrumentation, ceremonial chants, emotive chord changes and Beach Boy harmonies before exiting on a tear-jerking coda. The intermediary track Sväva is just as vulnerable, a modestly-arranged and leisurely-paced lullaby, where angels coalesce with a droning organ and eventually unfurl into the warm glow of rapture. Before we hit rock bottom, Thunder and Pony halt the elevator, abandoning any sense of melancholy and climbing to new heights with Creation Discoteque, an 11-minute Prog beast that chronicles a myriad of their musical adventures. This retrospective of altered states does seem designed to drop the curtain on their meticulously-crafted narrative, but not without foreshadowing their future and throwing in an air-shaking rave-up that sprints toward the nish line. What we nd enviable, spanning 3 glorious Thunder Tillman EPs and short lms, is the duo's creative simpatico, something that many artists in collaboration never truly behold. It's not their joint musical intuition, their intrinsic understanding of one another's craft, or even the power of their improvisational tether, but their spiritual alliance that nobody can touch. It's as if they share a tandem bicycle ride on the highest plane of consciousness to lounge in the members-only spa where they telepathically discuss secrets of high-grade musical alchemy

Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades.
While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

Jerome Derradji & Past Due Records are proud to present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a DLP / CD with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. As a companion to the compilation we are also reissuing the incredibly rare and sought after “Head Games” 7” with a picture sleeve.

This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time.

Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

Taken from the legendary performances
at the Crawdaddy Club in London, this
album together with “London1963: The First
Recordings” is the manifesto of an era when
the Blues found its home in the UK.
Features Eric Clapton taking his first steps

Following up her 2018 EP ‚Which One Of Us Is Me‘ on Figure, Lady Starlight once again tames her hardware for some wild, live and direct cuts. These four tracks of unprocessed, unadulterated machine techno are some of the freshest analog output available these days, with acidic undertones tinging the record in a slightly old school flavor.

Starlight still leads way in a highly condensed and to the point way of producing, where simplicity rules and basic elements carry all the tension necessary. Clever arrangement and little filter tweaks are all that‘s needed for maximum rave energy and reveal the hand of a true master of her craft.

SAFT is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

As the original version has been available as a 7" as well as a 12" release, the new edition will appear on a 12" record only and includes a hypnotic 'Sotofett' formula dub on the B-side that spans ten minutes and maximises the percussive nature of the original to create a psychedelic voyage that builds and builds whilst generating a threatening atmosphere around the brass, vocals and perc hits of the original.

A roaring guitar gives 1-2-1 a bizarre but signature Sotofett treatment which shouldn't be missing from any adventurous record collection. 1-2-1 including DJ Sotofett's formula dub will be available from all specialised retailers from the summer of 2019.

„Pitcher“ is Nadia D’Alò’s very first solo appearance on vinyl. Playful forwarding drums running hand in hand with a laid back wuthering synth line, carrying her melting voice right in it´s fountain. „Benzin“ on the flip side is a much slower, charming impish early morning jam by INIT (D’Alò & Benedikt Frey), based on a simple 808 infrastructure that leaves space for weird guitar riffs, wavy vocals and a bassy undercoat.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

Audioslave may be one the rare cases of remnants of 2 great bands coming together and creating an even greater band. Consisting of three quarters of Rage Against The Machine plus former Soundgarden singer Chris Cornell, Audioslave came onto the music scene with a mix of 70's Zeppelin & Sabbath warped into the year 2000 and beyond. Having Chris Cornell as their leadsinger was producer Rick Rubin's idea and the band penned no less than 21 songs in a period of 19 days, jamming and rehearsing.
Their live debut was a David Letterman gig on the rooftop of the Ed Sullivan Theatre in New York, kicking off a successful world tour. Debut single 'Cochise' was a worldwide smash and the 2nd single 'Like a Stone' even topped that (certified Gold by the RIAA)! The album was certified Gold in the USA within a month after its release. 2 Audioslave albums followed, before the members parted ways to join their former bands.

The career of Patience Africa Spanned over 40 years. After almost a decade of success on a major label with her Zulu Disco sound, and a few years in the early 80s experimenting with a more soulful sound, the funky synths of the 80's would force her to stay relevant in the quick changing times. It would be in 1987 that she would sign to the independent Ream Music which with the help of their tight knit in house production team had released hits for upcoming disco artists Makwerhu, Ntombi Ndaba, Sunset, Athena, Percy Kay and more. The label's success in the traditional market made Patience a perfect fit and could have been their first crossover artist.

With the help of owner's Danny Antill and Clive Risko they would cut a 4 track EP that like many others of the time ended up being lost in to the hyper saturated market of the emerging Bubblegum demand. Two tracks would be written by Patience, including the title "Wozani La" Musically these were more aligned with her sound of the 70's accompanied by a purely digital production, but it's the two songs written by label boss Danny Antill that appear on this release. These two songs are unlike anything heard at the time. Embracing full commitment to the digital studio and some extensive and risky experimenting the trio managed to slide heavy house bordering electro pop and a haunting swing beat groove alongside the compositions of Patience to complete this EP for both markets. Although the album had great potential, poor promotion and low sales led Patience to feel cheated and after not earning a cent for the record left the label and took her first break from music since the early 70's. She would later return to her original sound recording up to til 2006 when she released what would be her final album before her death the following year. Still loved by her fans and those who knew her, she is remembered through the Patience Africa Foundation. Founded by her son Mangaliso in 2017 to help create a better South Africa in our lifetime.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

“Acid Sensible EP” released by Johnkôôl Records is a compilation of tracks composed by french producer Botine (already seen on Acid Avengers Records) along those formative years. It is truly the fruit of back-and-forths between the stage and studio environment from 2013 to 2016.

The term Acid Sensible first appeared in Clément’s graphic work as he developed his musical adventures. It’s a tale in which pets, organized in a micro-society produce music that will free them from humans and their alienating lifestyle. Acid Sensible is how they name that musical genre they created and that Botine appropriated himself. Built on a complex mix of influences, Acid Sensible is a careful and melodious pop balance between new-beat rhythms and meditative sounds sourced from IDM, Braindance, Psychedelic Rock and Krautrock.

Most of the tracks on the EP were composed on analog devices. The recording was done in one take only, thus preserving its powerful esthetic sourced from the live environment.

• Recognised by fans and fellow recording artists, as one of the World’s most influential and best ever guitarists.
• This tribute is frequently confirmed when Hank regularly features high on the polls that determine the greatest guitarists of all time.
• Initially known as the lead guitarist of The Shadows, the band that evolved to become the UK’s biggest ever selling instrumental group,
Hank Marvin defined the sound of a generation.
• Hank was the very first guitarist in the UK to own an iconic Fender Stratocaster – when Cliff Richard imported the guitar from the US
exclusively for Hank to play.
• As a solo Artist, Hank Marvin has released 16 albums, with Top 20 albums spanning almost 50 years; 1969-2017 (to date), in a long and
successful career lasting more than 60 years.
• Hank Marvin, as a solo Artist, as well as part of The Shadows, with and without Cliff Richard, has spent approximately 900 weeks on the
UK Albums Chart.
• This ‘Gold’ 180g Heavyweight Gold Colour Vinyl LP set, covers Hank’s solo career, in this 15-track set.
• ‘Gold’ includes guest appearances/performances from Cliff Richard, Brian May, Duane Eddy and Mark Knopfler.

“The year is 1982. Rita Mitsouko has not yet recorded its eponymous debut album. The pile of ashes that once was Disco is still smoking on the field of Comiskey Park. New Wave is a phrase, Post-Punk Rock a thing. In France, young musicians dream of New York City – some with more devotion than others. Lapassenkoff are to early 1980’s downtown New-York what seminal New Wave act Marie Et Les Garçons (who met John Cale on their way to CBGB) are to the city’s musical scene in the late 1970’s: an unexpected cousin from Lyon.

Indeed, going through Shing ‘n’ Tsé! sometimes feel like an impromptu meeting between John Lurie and Tom Tom Club in the basement of some French record store. If we press pause for a minute, a question comes to mind: how on earth such a unique blend of funk, post-punk, jazz fusion & hip hop (!) – more easily associated with, say, The Mudd Club, than with Les pentes de la Croix-Rousse – made its way to the brains of three French musicians?

The answer probably lies in a Swiss chalet, some 40 kilometers away from Zurich. Sent there by the wise people from Mosquito (the label which also gave Ramuntcho Matta and Carte de Séjour the opportunity to record their first album), the band experiences Alpine ennui and mysterious neighbours (a certain Carlos Peron, for instance). That is probably during this stay in Swiss meadows that they opened a Pandora’s box called experimental music, leading them into recording the mind-blowing sample-based – and accidentally proto-everything – M Le Maudit,, that would later grace Belgian airwaves via the famous Liaisons Dangereuses radio show.

But if we’re looking for a bigger picture, M Le Maudit is just an example of how inventive their approach to music was. This compilation is a testimony of a decade-long feverish flirt between the Lyon trio and dance music. From the infectious electric boogie cuts Shing A Ling and Roadie to the somehow euro-house-fuelled Ma Poubelle Angelina, via many unclassifiable yet iconic songs like Bossi Le Bosseman or Fièvres, Frissons, the compilation demonstrates one thing: Lapassenkoff took the road less traveled by and contributed to a different history of French Pop music.”

Pierre-Arthur Michau.

The first of a new series of VA releases, Casting Shadows reimagines archival music through the eyes of our favourite DJs. Each volume is overseen by a different selector, inviting us to look through the peephole of their crates.

Cutting the ribbon, we invite German luminary Mick Wills. Active over 3 decades, a perennial influence and looming figure across the wave and techno scenes.
Wills refashions 3 of his favourites, giving them the trademark ‘Cut’ treatment for tender floors worldwide.

The first track sees a crucially overlooked Baby Red Torres number 7” fully expanded to 5 am percussive meltdown business.

Next up synth-botherer Paul Nagle sees his early tape emission‘The Mesomeric Effect’ re-cut by cool hand Mick, coming in hot & throbbing in all the right ways.

Closing on a dramatic note, Kehrschliefe’s Leonid Brezhnev (previously on Polytechnic Youth) is opened up, ripped apart and smartly re-dressed, oozing class and menace.

3 cuts your way from one of our favourite basement surgeons. Look out for the second volume of Casting Shadows, carefully compiled by an interplanetary presence .

Mastered by Alden Tyrell.

Leipzig’s Dj Balduin has been a staff favourite for some time as we are avid fans of his GLYK imprint, and in particular his debut EP “Vvigmara”. Dj Balduin proclaims to enjoy producing music that creates “states of hypnosis with an occasional, gentle “hands-up-face-slap” every now and then” which perfectly sums up “Lost Cat” - his first release for KOMPAKT.

“E.W.B.A” came to Dj Balduin while having a shower, so chances are high we have this summer’s rain dance anthem on our hands as it has all the right elements - a classic rave synth meets an infectious open snare to break through the beat.

The kick drum thud of “Sheee” seems to be all too menacing at first, but surprisingly learns how to open itself into a gorgeously seductive uplifting house tune.

This story ends with the perfect set closer; “Lost Cat And An Untied Shoe” brings that beat back with soaring synths and a playful natural bass line that adds just the slightest edge of funk to carry the crowd home at the end of the night.
Leipzigs DJ Balduin und besonders seine Debüt-EP „Vvigmara“ trendet, seitdem wir sein GLYK-Label kennen, unter den Mitarbeitern von Kompakt. Laut eigenen Angaben genieße es DJ Balduin, Musik zu produzieren, die seine Zuhörer in den „Zustand der Hypnose versetzt und gleichzeitig mit gelegentlichen zarten Schlägen ins Gesicht wachhält“, was auf „Lost Cat“ – sein erstes Release auf Kompakt – auch geschieht.

„E.W.B.A“ kam DJ Balduin unter der Dusche, die Chancen stehen also hoch, dass wir hier eine Hymne für diejenigen Raves haben, die unter kräftigen Sommergewittern stattfinden werden – die richtigen Zutaten sind alle da: klassische Rave-Hooks, ansteckende Snaredrums, die hervorbrechen aus dem Bass.

Der Schlag der Bassdrum von „Sheee“ scheint zunächst bedrohlich, lernt aber überraschender Weise sich selbst zu wandeln hin zu einem prachtvoll verführerischen House-Stück. Die Geschichte endet mit dem aller besten letzten Stück: „Lost Cat And An Untied Show“ bringt den Beat zurück zusammen mit aufsteigenden Synths und einer verspielten, natürlichen Bassline, die einen Funken Funk hinzufügt, um die Dancer nach Hause zu begleiten in der Nacht.

One of the enduring mysteries of Blue Note history is that superb sessions such as Dexter Gordon’s Clubhouse (recorded in 1965) remained unreleased in the vault until the late 1970s. Recorded during the middle of Gordon’s “golden period” career renaissance after he signed with Blue Note in 1961, the tenor saxophone legend is joined by Freddie Hubbard on trumpet and the remarkable rhythm section of Barry Harris on piano, Bob Cranshaw on bass, and the great Billy Higgins on drums. Long Tall Dexter’s rendition of the Sinatra evergreen “I’m a Fool To Want You” stands as one of his all-time greatest ballad performances.

Fresh from the Tokyo studio of Balearic wizard Max Essa, comes Barkhan Dunes EP; a collection of exquisite, chilled-out loveliness.

Opening track The Price You Pay (For Loving That Way) warns of the dangers of careless love affairs. A veritable beach-disco classic in the making; warm, expressive synth rhythms and beautiful clean guitar lines provide an irresistible urge to climb on deck and let your body move. Next up, Kites at Nemoto Beach caresses your soul with blissful shimmering guitar and synths, before some David Axelrod-esque choral vocals carry you across the oceans to a new place.

Finally, Sundowning is a sublime slice of low-slung, poolside AOR. As the golden-red sun slides towards the horizon, a bittersweet dubby guitar refrain hints at past troubles, but also carries you forward to an optimistic future.

Getting strong support from Dicky Trisco, Marco Gallerani, Simon Lee, Beatbroker/Dream Chimney and more.

Numbers 28, 29 & 30 in the Jazzman Holy Grail Series.

Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

We meet with Michael at our UK offices and over several hours he tells us the highs and lows of running Fable Records, leaving no stone unturned and with success and tragedy in equal measure. We also speak with members of all 3 bands, and they share with us interesting stories and cool anecdotes of the wild times in the mid '70s when their records were made. We acquire informative press cuttings and some awesome posters & flyers, and all of this we publish in a booklet included with each LP which are housed in a US-style tip-on sleeve. Jazzman Records - We Dig Deeper.

Celebrating the photography of Robert Doisneau, 25 years after his death. Discover the new Esprit Robert Doisneau Collection, associating songs with his famous images of Paris.

Famous all over the world, the photographer’s work accurately represents the soul of Paris. This collection of ten LPs are all pressed on 180g coloured vinyl.

Kate Tempest returns with her third studio album, The Book of Traps and Lessons.

The highly anticipated album was crafted with Rick Rubin and Dan Carey over the course of the past five years. It follows Tempest’s previous releases, 2014’s Everybody Down and 2017’s Let Them Eat Chaos, both of which were shortlisted for Mercury Prize in 2014 and 2017, respectively. Last year, Kate Tempest was nominated at The BRIT Awards for Best Female Solo Performer.

A handful of words often tell you everything you need to know. When asked, who is Kate Tempest? She gives a brief, albeit telling answer. “Kate Tempest is the words,” she responds. You haven’t ever seen, heard, or experienced anyone quite like her. Tempest uncovers the missing link between the Golden Ages of literature and hip-hop. The London-born BRIT Award-nominated spoken word artist, rapper, poet, novelist, and playwright rhymes with a century-turning fury. Since her emergence in 2011, she has redefined what it means to be a wordsmith in the Modern Age. To date, she has published three poetry collections, staged three plays, and released two studio albums. Along the way, she entranced audiences on The Tonight Show Starring Jimmy Fallon, NPR’s “Tiny Desk,” and more. Not to mention, she garnered widespread critical acclaim from The New York Times, The New Yorker, Forbes, and more, to name a few. In the midst of this whirlwind journey, she performed a passage of her popular 75-minute narrative poem, Brand New Ancients, on Charlie Rose. Legendary producer and American Recordings Founder Rick Rubin caught the show, tracked down her phone number, and made a call. This set a series of events in motion that led to her 2019 debut album for American Recordings, The Book of Traps and Lessons, set for release on June 14th.

Following on from their recent album on Italian imprint Just This, Hunter/Game present the Silence Remixes out June 7th, featuring contributions from Radio Slave, Inland and Jamaica Suk amongst others.

Silence is a spiralling voyage into the depths of blissful ambience and meditative techno from Milan-based duo Hunter/Game. Arriving after a series of acclaimed EPs on the same label, it is an aesthetic statement of intent, carving out serene spaces of melancholy and upliftment.

For the remixes EP, a carefully chosen selection of artists provide varying interpretations of stand-out tracks from the album. Radio Slave turns ‘Dead Soul’ into a marching ground of melodic techno, whilst Inland breathes robotic life into ‘Crashed Sounds’ and Wrong Assessment levitate ‘Fragments’ over murky waters. Closing off the vinyl is Jamaica Suk’s ominous restructuring of ‘Reaction’.

Owners of the digital release will receive three further remixes. Vessels turns ‘Evolution’ into a broken dreamscape of stepping percussion, whilst Just This affiliate Scissors forges a stripped back, tripped out version of ‘Memories’. Also featured digitally is a second version of Jamaica Suk’s ‘Reaction’ remix.

'No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it’s not! Besides i don’t care how you call it - it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear “MASTERPIECE!!” so let’s just call it that!

We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours.'