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A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

Rival Consoles is 21-year old IDM-smith Ryan Lee West from Leicester in the Midlands of England. After having supported his city neighbours and label comrades Kyte on an extensive European tour in November 2008, West locked himself away all winter to finish his first full-length album, set to see the light of day in mid 2009. In the meantime fans of his debut 'The Decadent EP' will be pleased to hear that on February 23, 2009 Erased Tapes Records will release an exclusive 4-track 7" single / download bundle ? Rival Consoles' take on classical music entitled 'Helvetica'. Instead of X-Box versus Playstation, here West plays classical against dance music! Influenced by impressionists like Claude Debussy and modern electronic artists such as Autechre and Daft Punk, Ryan Lee West created a unique signature sound for Rival Consoles. A playful and brutal mix of electronic beats, emotive piano melodies and warm synth string arrangements. Ryan repeatedly performed at the Tate Britain Museum in London where he drew over 2000 visitors into his unpredictable, yet detailed sound drawings. He was the first to represent Erased Tapes Records at the British Music Week 2007 in Cologne, Germany. Limited to 500 copies only: with download code. Album due later in the year, and it will be one of the years hittest tips...

The 1986 self-titled Aretha Franklin album was a successful one, notable for containing five R&B hits, including the number 1 hit “I Knew You Were Waiting (For Me)” and “If You Need My Love Tonight”. Aretha herself says in the liner notes that this is one of her favorite albums, and it’s easy to see why. She sings her head off on this album, and sounds like she’s having so much fun on each and every song. The album is noteworthy for the cover, which was Andy Warhol’s final work before his death in early 1987.

Aretha is available as a limited edition of 2000 individually numbered copies on translucent green vinyl. The package includes an insert.

Black Vinyl Edition

The Log and the Leeway follows a 6 year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical.

Early in the process, Bram was struck by the word/concept of a Leeway : the gradual departure from an intented course due to external influences. Following a boyish fascination for explorers travel journals, logbooks and the far fetched corners of the world, he could not have forseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time it was an enlightenment and a necessary influence for him to realise the initial idea and finish this album, started over half a decade before.

The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram’s musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else’s clothes: You may not know how you got here, but whatever is happening seems to very directly involve YOU. What will happen?

Note from Erik K Skodvin (Miasmah): All the sounds, fabrics, instrumentation and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations – I can only say that it is with great pleasure and certain nostalgia I can present this record in full through Miasmah and close this quite extraordinary chapter. Bram is without doubt the most fascinating person I know. Like I told him in April 2020 during a trying time: “If everything fails, we´ll open a Kaboom Karavan museum” - an idea that might not be as far-fetched as it sounds.

Featuring: Cover painting by John Lurie. 16 page booklet of Musical illustration / collagés by Walter Dhoogh & Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O

Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound. Through these experimentations he has found a process of producing electronic music that feels close to this urge. Restricting himself to a small selection of analogue equipment, West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath.

‘Odyssey’ is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ The new 5-track EP was mastered by Naweed and will be released worldwide on October 21 in the form of a 12" Vinyl and Download via Erased Tapes.

‘Odyssey’ and ‘Voyager’ are both incredibly stripped down and have a great sense of space throughout them. It's all about using the right ingredients at the right points in time. A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks etc., which interact with the simple arrangements and create little hints of rhythm. I also love the technique of swelling in music, but I realised that hardly anyone has done that in electronic music. So when I first got the synth to swell in and out with the opening chords of ‘Philip’, it was a great moment. Because it creates a human mood in a matter of seconds, which is very difficult to do with electronic sounds. That track is very important to me, and I think it will influence how I make music in the future.’ – Ryan Lee West

West will perform alongside his contemporary composer mates Ólafur Arnalds and Nils Frahm for a special electronic Erased Tapes night as part of London’s The Hydra series on October 18. The same day will also see a special in-store event at Phonica Records, where West will showcase the ‘Odyssey’ EP amongst other tracks on his beloved analogue gear, joined by South London artist Supermundane creating a live art piece in the shop window.

RIVAL CONSOLES IS 21-YEAR OLD ELECTRO ACID-SMITH RYAN LEE WEST FROM LEICESTER. INFLUENCED BY IMPRESSIONISTS LIKE CLAUDE DEBUSSY AND MODERN ELECTRONIC ARTISTS SUCH AS AUTECHRE AND SQUAREPUSHER, HE CREATED HIS UNIQUE SIGNATURE. A PLAYFUL AND BRUTAL MIX OF IDM ACID BEATS AND WARM, EMOTIVE SYNTH STRING ARRANGEMENTS. IN FEBRUARY HE RELEASED AND TOURED THE MORE QUIRKY "VEMEER EP" UNDER HIS SECOND MUSICAL ALIAS APARATEC, WHICH SOLD LIKE HOT CAKES AND EARNED HIM A LOT OF FANS. RYAN RECENTLY REPRESENTED ERASED TAPES RECORDS AT THE BRITISH MUSIC WEEK 2007 IN COLOGNE, GERMANY AND CRAFTED REMIXES FOR UPCOMING LABEL COMRADE AND PRODUCER JUSTIN LOCKEY (YOURCODENAMEIS:MILO). "THE DECADENT EP" WILL HIT THE UK SHOPS AS A FUSION OF TRADITIONAL AND CONTEMPORARY FORMATS - A 10" VINYL RECORD WITH A DOWNLOAD CODE, THAT ALLOWS THE PURCHASER TO BE ABLE TO GET THE ENTIRE EP PLUS BONUS TRACK DIGITALLY FOR NO EXTRA COST.

Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous DUB SYNDICATE. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere and orthers. Well, Austria's / Viennas's finest moments in dub working and collaborating with the new technological dimension of modern dub : Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ DUB ME CRAZY. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx and others are showing faith of what DUB is living for. Since 2007 Paolo Baldini works under the top level name "Alambic Conspiracy" and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur!

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Black Ark Vol. 2 is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle. It’s a bedrock of deep and heavy rhythms recorded around Jamaica =just before the demise of Perry’s famed Black Ark Studio. Black Ark Vol. 2 is the follow up album to the acclaimed Black Ark In Dub that unsurprisingly for an Upsetter release, took a different path. More vocal oriented, the album features extended dubwise cuts of (former wife and co-producer) Carol Cole’s ‘Ethiopia’, The Originals ‘Got To Be Irie’, Junior Byles ‘Mumbling & Grumbling and The Inamans remake of the Bee Gees hit ‘How Deep Is your Love’, along with an alternate take of the Silvertones roots classic ‘Give Thanks’ with flute overdub and a couple of solid covers from Third World lead vocalist Bunny Rugs. Originally released in 1981 the hard to find Black Ark Vol. 2 remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Repressed in 2023, limited!


Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album.

The third release on Tempo Dischi is 'Keep On Dance' by Contact Music, a little gem that is part of the Italo Disco history, but has characteristics of the early Proto House sound.

Antonio Cucaro, the Italian musician, songwriter and producer behind this project recalls ‘I started playing guitar very early. I drew my inspirations from the echo of Woodstock that came through the ‘Bandiera Gialla’ show on Radio Rai: emotions that were equal to true revelations when listening to Jimi Hendrix, Eric Clapton, Cream, Jimmy Page, Ritchie Blackmore (Deep Purple), Joe Pass, Alvin Lee, George Benson. Stimulated by various musical contamination, which came from rock and Italian authorial music, I started immersing myself into searching new exciting sounds, applying composition to various directions while trying to produce something new without worrying about genres or people's judgements, all without a compromise. I would not have imagined that one evening in 1983, 'Keep on Dance' would be born. It was produced together with three DJs who wanted a sort of opening track for their sets, putting together some sequences recorded by myself using percussion, acoustic and electronic drums (Linn, Oberheim, Simmons). The fact that after almost forty years it has been revived and considered a Proto House pearl really honours me. Composing music is like breathing pure oxygen: you compose, record and realise that you are already thinking about the next step to keep breathing’.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. And it all started with them coming home. By the summer of 2019, the Houston group_bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson_had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin's members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey_a moment all the more beautiful for its impermanence. And it's a memory to revisit again and again, speaking to us now more clearly than ever.

Various Artists: Lisene, Hartta, Sourpuss & Interplanetary Criminal

"Banoffee Pies Records" drop the 13th release in the original series. This VA aptly entitled "Common Ground" is a crossover of influences from 4 artists with a selection of tracks all above 150 bpm from producers of a similar generation giving a nod to their youth and early musical journeys, largely inspired by Drum & Bass and Jungle raves across the UK.

The release divided in two with a Dark A side and Light B side offering parallel moods of depth and liquidity. The opening track "Class Of '92" from Lisene, one half of the Space Cadets duo, with previous releases on Seven Hill Records and an EP lined up with Planet Euphorique later this year, pushes complex drum patterns and pulsing synths evolving in energy levels throughout. The A2 from Bristol based Hartta offers a more spooked out bass heavy cut with "Hauntology", ready for powerful system rumbling.

The B side begins with title track "Common Ground", an ode to dusted jungle and liquid drum & bass from Leeds based Sourpuss, known for running the Stretchy Dance Supply parties, - this track serving hedonistic eye rolling gurner euphoria, sounding more like an og 90's prodcution. The last track on the disc "Vapour" comes from Manchester's Interplanetary Criminal. With his UKG EP "Move Tools" on BP010 landing on the label and many dance floors at the end of 2019, this nostalgic drum scattered jungle cut stylishly closes off the compilation. Ltd. Press. BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

Here is Niall Power’s debut release on Psyko social records, a 5 track EP filled with all sorts of Detroit inspired techno and electro bangers with remixes from some amazing producers such as Lee Holman, Leafeater and Ikeaboy.

Niall Power’s Steel Reinforcement wears it’s classic era Techno and Electro on it’s sleeve. Born out of a cross of diverse backgrounds and disciplines, the Irish based DJ spicing up the current techno aesthetics by adding a pinch of acid, sprinkled with that extra touch of sleaze. Power’s ‘Spinal Fusion’ and ‘Kyphosi’, embodies the visceral secrets of sounds that work the dance floors. Heavily blessed with taste and cursed with extensive dj background. Vicious kicks and snares along with synth and pad elements conjure up a painkiller haze, woozing in and out of consciousness. Teaming up with three huge remixes from Lee Holman |DE|MAR|CATION| Leafeater StickyGround and Ikeaboy D1 Recordings this EP is a great weapon for any techno or electro dj.

For PSR, this is a really exciting first release as it shows they have an in-depth understanding of the modern techno zeitgeist with inspiration from the past to explore all flavours of the genre for the future.

Early support from the likes of Neil Landstrumm, Jamie Behan, Sunil Sharpe, Aubrey, Plural, Cáilin Power and Dave Clarke just to name a few.

Joyce Cooling is known for being one of the dynamic jazz guitarists in the world. She has recorded for over two decades and had No.1 radio hits in the USA where she has performed with such musical giants as Joe Henderson, Stan Getz, Charlie Byrd, Al Jarreau, and Lee Ritenour. The vocal track "It's You" comes from her debut album "Cameo" in 1988 and was adopted by the jazz dance and soul scene in the mid 90s. It has been on CD compilations since that time but never before on vinyl. "Dori" is also one of her finest works from that time, only previously a bonus track on one edition of the "Cameo" CD

Kaluki brand co-owner Lee Spence aka Pirate Copy has forged a reputation in the dance music industry only a few can boast. Hailing from Manchester, the DJ / Producer & promoter has been responsible for some of the most legendary parties ever held in the city spanning the last 15 years. As a DJ he has spun in all 4 corners of the globe and has a trophy cabinet full of killer releases on labels such as Sola, Solid Grooves, Elrow and of course his own Kaluki Muzik.

For "PCB001", Spence delivers something special, dropping the exclusive to vinyl DJ tool that he’s been spinning at every show for the past 6 months to rapturous success. Utilising Sister Sledge’s “We Are Family” sample to great effect he delivers a modern-day rework of explosive proportions. Looping up that infamous guitar riff behind a stomping beat, adding hands in the air breakdowns, vocals screams and sultry strings it’s sure to ignite any dancefloor it’s put before. Coupled with the original, Spence also offers up the Dub Mix and Loop Tool to give all manner of options to unleash.

Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.

In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.

The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

LTD. GREEN VINYL

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

Faze Action return with the 3rd instalment of their 4 part series featuring Zeke Manyika. "Sununguka", sung in Zeke's native Shona, is literally translated to mean, "To unravel oneself and unlock yourself".

It's set over an infectious reggae, boogie rhythm, with an early proto house feel. Featuring backing vocals from Sharon Manyika and heavenly keyboard solos from Rob Lee, this EP is set to take us into summer and beyond.

The package comes with a stunning remix from Alan Dixon who has been lighting up dance floors with his releases on Running Back and more. Here he turns the original into an Italo/electronic Aend of night classics, managing to seamlessly Amerge Zeke's African vocals with a serious bass line, ahead of the curve, contempory production whilst placing the release firmly in the credible main room department.

On "A2" we have Rwendo where Zeke really stretches his songwriting skills as the whole track manages to fuse a variety of rhythms together to create a beautiful downtempo masterpiece.
Finishing off we have the "Special Extended Dub Mix" which strips back the original and turns it into a balearic house gem made for the summer ahead.

Original cut of the well-known "Fever" riddim, voiced by Milton Henry and Junior Byles, credited here to King Medious, an alias Henry says was inspired by the mysterious Sixth and Seventh Books of Moses. Crucial early 70s Lee Perry production. First time reissue on 7inch.

Soulful reggae tune by Bunny Clarke, first time reissue with dub version since it's initial release in 1975 with the typical Lee Scratch Perry production sound.

Alex Figueira, the man behind Music With Soul, Fumaça Preta & Conjunto Papa Upa, has teamed up with Maxado, Brazil's leading rocksteady vocalist, to create another impossible crossover, connecting the dots of the vast tropical music map that have remained appart for far too long.

What if the now-legendary producer Lee Perry had recorded & produced the nascent Wailers trio of Neville Livingston, Bob Marley and Peter Tosh, not in Kingston, the scorching hot Jamaican capital, but instead in Belém, an even hotter city, at the heart of the Brazilian Amazon.

Whilst Kingston's airwaves and street parties were dominated by the locally produced rocksteady, ska and reggae, Belém was dancing to it's own beat of carimbó and siriá.

Alex Figueira and Maxado, two avid fans of both musical traditions, entered the Barracão Sound Studio, Amsterdam's famed vintage recording studio, determined to find an answer to that hypothetical question. The result is not only tangible and unprecedented, but incredibly emotive & hypnotic too.

The chorus of "Quando Será" is unnervingly apt for our times tool, "Quando será que eu vou te ver?", or "When will I see you?" the song asks. Well until we see each other, Music With Soul offers some musical relief in the form of this collaborative song.

The B side offers a beautiful touching instrumental version, led by the impeccable flute rendition of Brazilian multi-instrumentalist Gabriel Milliet, a prominent member of the Brazilian music scene in Amsterdam and Alex's long time collaborator having shared the stage countless times in the past 3 years. His delicate phrasing will give you goosebumps.

Alex Figueira is well known as the man behind experimental tropical rock-outfit, Fumaça Preta, and more recently the psychedelic tropical dance band, Conjunto Papa Upa. Meanwhile, he has become a staple of the Amsterdam scene, having either played with, recorded or produced everyone from Mauskovic Dance Band to Altin Gün. São Paulo-based musician & singer composer Maxado made his mark fronting Firebug, Brazil's leading, if not only, rocksteady band, also featuring influential musician, producer and mix engineer Victor Rice. The two musicians met during Alex's first trip to Brazil, when he was already a massive Firebug fan, and quickly formed a firm friendship. Finally over the course of Maxado's first visit to Amsterdam, the pair had a crack at writing & recording together, quickly discovering that their chemistry extended to the studio. Now you can hear the first fruits of their blossoming musical relationship.

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."

Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's recorded with the likes of Mark Ronson, Amy WineHouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jesse Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds and Blue Note saxophone legend Lou Donaldson. Now he's finally releasing his first solo album, aptly titled "About Time", on Haggis Records and he's going back to his original roots... Jazz.

The album is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60's and 70's recordings on the legendary Blue Note Records label. A nice variation of themes and tempos feature throughout the album. From full-on latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together by a great group of experienced musicians.

Malcolm's core quartet is himself on trumpet/flugelhorn, fellow Haggis Horns members George Cooper (piano) and Erroll Rollins (drums), plus Courtny Tomas on double bass. Featured guests are Atholl Ransome on tenor sax (The Haggis Horns), Rob Mitchell on baritone sax (Abstract Orchestra) and Danny Barley on Trombone. Strings are courtesy of Richard Curran and the percussionist is one of the finest session players in Europe, Karl Vanden Bossche (Incognito, Robert Palmer, Joss Stone, The Gorillaz, Sade, Blur - He and Malcolm met while touring with Mark Ronson)

Malcolm's love of jazz comes from his parents. Aged 7, his jazz musician father gave him a trumpet. From then on, jazz was his life. His musical education came via music teachers, youth jazz orchestras and jazz summer schools but mostly from his dad's record collection listening to Art Blakey and Dizzy Gillespie records and learning to improvise and solo by ear. At 18, he enrolled at Leeds College of Music and quickly immersed himself in the city's vibrant acid jazz, funk and soul scene and from making his recording debut in 1999 with The New Mastersounds, jazz was his musical passion but took a back seat to funk/soul/pop which were the day job. Until now.

Jazz is back. The wait is over. It really is "About Time" for Malcolm Strachan.

3 years after the release of his debut EP « Seize The Day », DJ, producer and founder of Roche Musique Cezaire is back with another evocatively named project : "Attraction".

Faithful to himself, he creates a sensual ambience made of warm and swaying tones, the sweet fruit of the melodic groove which always drives him. Once the eyes closed - the imagination becomes fertile and takes us back in a 90’s daydream accompanied by hypnotic synths. Regardless of the place, it’s all about lightness and smooth vibes.

Between G-Funk influences and francophone contemporary soul, the 5 titles EP unveils the producer’s taste for retro and voluptuous sounds, echoing to the universal theme of desire.

“This second EP is to me a logical follow-up which falls within my path. Of course, its central theme is attraction, but by that, I refer to one thing : making your dreams come true. ”

The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, 'Patrice' and 'Pizzazz'. "I was lucky to have a group of musicians that I knew well by the time of these recording sessions," remembers Patrice. "I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A." Tracks include the singles 'Don't Blame Me', 'Look Up!' and 'Never Gonna Give You Up'. "'Never Gonna Give You Up' came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.'s music scene and that groove came out of those jams. With 'The Dream', I had been listening to Minnie Riperton's 'Come To My Garden', one of my favourite albums. With Charles Stepney's arrangements, I saw that he didn't have to use large instrumentation to be orchestral in his approach. So, 'The Dream' was a homage to that kind of writing." "After 'Posh', we had a much better idea from the performance side what was important in our music and that informed my next album, 'Straight From The Heart'. We took a little break after 'Posh' was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music."

With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely.

The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

While both versions presented here have common elements, the ‘Movie Mix’ – so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ – goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

Limited edition clear LP 500 copies worldwide. No Repress!

Record Kicks is proud to present the Instrumentals from 2019's critically acclaimed album "50 FOOT WOMAN" by Hannah Williams & The Affirmations. Recorded strictly on tape at ATA Records and mixed and produced by Shawn Lee, this album captures all of the visceral power of The Affirmations. Hannah Williams turned heads worldwide when the hip-hop superstar Jay-Z sampled her heart-stopping vocals on 'Late Nights & Heartbreak' for the title track, '4.44' on his 2017 album. With the new album 50 FOOT WOMAN, released last October 18th on the Milan based imprint Record Kicks, Hannah and her exemplary, Bristol-based band the Affirmations delivered a definitive career statement.

Låpsley releases her highly anticipated second
album. Titled ‘Through Water’, it is the follow up to
her 2016 album ‘Long Way Home’, one of that
year’s most acclaimed debuts. Released while she
was still a teenager, ‘Long Way Home’ featured
Låpsley’s breakthrough moments ‘Station’ and
‘Falling Short’ and spawned one of the biggest club
tracks in recent years (DJ Koze’s edit of ‘Operator’)
as well as inspiring a new generation of
electronically minded songwriters including Billie
Eilish, who namechecked it as a key influence on
her sound.
 ‘Through Water’ is without doubt Låpsley’s most
accomplished work to date, written and recorded
during her transition into young womanhood. With
Låpsley as the major producer and songwriter, the
ten songs (whittled down from over one hundred)
reflect her newfound confidence, clarity and selfawareness as an artist, documenting a wealth of
personal experiences and coming-of-age stories
set against a thematic backdrop of water, climate,
weather and the elements.

Parasols (Ali Renault) applies ABS to the bpm with the new beat friendly ‘Diaz’; a slasher disco stalker prowling the lower east side of somewhere deep in your residual nightmares. Red Corner thwacks hard and dusky like a dustbin full of grit. Now your as giddy as the time you had your first bucket. The mutated commentary that underpins this clash of pans melts woozily into ‘Sacrifice’, which comes on all Baldelli inspired like some Rimini horror fest where Benetton and Timberlands frug it out amongst shadows in the Mediterranean dusk. Bursting with energy the finalimente of this accomplished brace of toons is possibly the standout, ‘Cessana Learning’ leers and lurches with weird gut belches that are both melodic and disorienting at the same time; shifting gears midpoint into some glorious electro chimes that will strike a chord with fans of other post techno luminaries such Ed DMX. Get some of this, enjoy flagellate and try to stay conscious!

Mix 1 (20:00)
1.1 Don Shelley– Dance To The Music 1:24
1.2 Lee Marrow– Cannibals (Baa-Bou - Baa-Bou) 0:37
1.3 Panorama – War In Love 0:37
1.4 Brian Auger– Night Train To Nowhere 0:54
1.5 Sylvi Foster– Hookey 0:39
1.6 Mike Cannon– Voices In The Dark 0:18
1.7 Steel Mind– Bad Passion 1:15
1.8 Brian Ice– Talking To The Night 0:39
1.9 Valerie Dore– The Night 0:58
1.10 M Basic– OK. Run 0:18
1.11 Mac Jr.– Elephant Song 0:26
1.12 Scotch– Disco Band 0:56
1.13 Koto– Japanese War Games 0:34
1.14 Miko Mission– How Old Are You? 0:51
1.15 Silver Pozzolli*– Around My Dream 0:36
1.16 Baby's Gang– Happy Song 0:17
1.17 Sky Creackers– You Should Be Dancing 0:12
1.18 Marzio Dance– You Can Do It 1:09
1.19 N.O.I.A.– True Love 0:28
1.20 Kano– I Need Love 0:25
1.21 N.O.I.A.– Stranger In A Strange Land 0:33
1.22 Miko Mission– The World Is You 0:45
1.23 Torrevado– Living In The Shuttle 0:35
1.24 Electric Mind– Can We Go 0:33
1.25 Kano– Another Life 0:34
1.26 Flexx – Love Theme From Flexxy-Ball (You´ll Never Change No More) 0:49
1.27 Duke Lake– Dance Tonight 0:26
1.28 Doctor's Cat– Feel The Drive 1:24
1.29 Cheaps– Moliendo Cafe 0:42


Mix 2 (20:00)
2.1 Koto– Visitors 0:05
2.2 Ken Laszlo– Tonight 0:23
2.3 Time– Shaker Shake 0:16
2.4 Diviacchi– Waiting For Heaven 0:33
2.5 Brand Image– Are You Loving? 0:38
2.6 Fred Ventura– The Years (Go By) 0:23
2.7 Koto– Jabdah 0:28
2.8 Capricorn – I Need Love 0:56
2.9 Duke Lake– Do You 0:37
2.10 Doctor's Cat– Watch Out! 1:13
2.11 J.D. Jaber– Don´t Stop Lovin´ 0:48
2.12 Marzio Dance– Rap-O-Hush 1:13
2.13 Tommy Bow– Dance Tonight 0:53
2.14 Ryan Paris– Dolce Vita 1:03
2.15 Stopp– I´m Hungry 0:24
2.16 Baby's Gang– Challenger 0:06
2.17 Charlie– Spacer Woman 0:21
2.18 Chris Luis– The Heart In The City 0:32
2.19 Fun Fun– Colour My Love 1:05
2.20 Stylóo– Pretty Face 1:11
2.21 Faxe– Time For Changes 0:34
2.22 Scotch– Money Runner 1:32
2.23 Nico Band– Let It Show 1:24
2.24 Baby's Gang– Jamin 1:03
2.25 Den Harrow– A Taste Of Love 1:24
2.26 Baby's Gang– My Little Japanese Boy 0:55

Features the extraordinary 1967 Smothers Brothers TV show version of My Generation.

After a false start or two, Ess O Ess have finally joined the Kinfolk stable with a thunderous release featuring Laura Lee of Khruangbin fame.

Totem is the name and four versions is the game.

Starting off, the original mix is a wailing guitar-heavy psyche rock out that sees Laura Lee's vocals carrying it across a peyote-filled landscape.

Saul's Swamp Crawl version sees the slow 'n' heavy rock elements kept in the mix but with added electronic flourishes. Head nodding is an optional extra.

The Hardway Brothers decided to tune in with the spirit of Johnny Jenkins and haul it through New Orleans via a pit stop at John Carpenter's desert holiday home.

Otologic bring up the rear with an altogether different take by donning their finest digi dub garb and take it as far away as they can from it's psyche out beginnings

At the turn of the 80's, a new generation of musicians appeared who saw synthesisers not as dehumanizing machines but as musical instruments that could be coaxed into creating modern, beautiful and decidedly emotional music. It was almost as if the musicians were intentionally creating this music to prove the doubters wrong. 

Compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, “The Tears Of Technology” celebrates this brief period when scruffy synth duos from the provinces broke through and took over British pop. Like mellotrons before them, synths could project a strange and deep emotion; listen to OMD’s ‘Sealand’, or the Human League’s ‘WXJL Tonight’, and it was clear that something in the wiring had an inherent melancholy.

In the 60's and 70's, the synthesiser had mostly been regarded as either a novelty or a threat. Tomorrow’s World warned us that the cold, heartless synth would soon make orchestras redundant. But by 1980, Korgs, Moogs and Rolands were becoming affordable for all, and post-punk had created a safe place for new groups to experiment with these new toys.

The influence of Kraftwerk – who had made a landmark appearance on Tomorrow’s World in 1975 – is all over this collection. Big names rub shoulders with obscurities by Turquoise Days, Electronic Circus and Illustration, all highly prized recordings among ‘cold wave’ and ‘minimal synth’ afficionados. There are pioneers like John Foxx and Thomas Leer, alongside unexpected synth sadness from Simple Minds and the Teardrop Explodes.

“The Tears Of Technology” celebrates an era of electronic melancholia, synthesized intimacies and insights – even Tomorrow’s World didn’t see that coming.

Release Text Info: After a brief hiatus, here we are once more for the third release on Black/Tuesday Limited. For this installment, we've invited the Ukrainian Kirik to take the reigns. Tried and tested on dance floors across the globe, this EP has a track for every mood.

The title track, "Shape Les" is a sun-bleached roller that's sure to spread smiles across any dance floor. The ever-talented Iuly.B takes "Shape Les" and drowns out the sun as he crafts it into the perfect late-night bomb filled with mind-bending sounds to keep people locked in. Over on the B-side, Kirik washes any pain away with "Bruce Lee Say" - a beautifully crafted cut that warms the soul just like grandma's famous soup. "After Touch" closes out the EP with a guitar-infused ripper. Steeped in uplifting synths, mesmerizing vocals, and a swinging bass line, this one can fit in perfectly during any set time.

Nairobi, Kenya, 1978. In the Phonogram Ltd. music studio, the popular Congolese Rumba band Les Mangelepa is finishing a session. Things are going well: they have recorded all the music they planned and still have an hour to kill before giving back the studio keys. How about improvising one last song on the spot? And this is how “Nyako Konya” was born. An incredible 9 minutes hypnotic jam, that’ll eventually become one of their biggest tunes, earning them a Gold record and international acclaim throughout Africa. Meticulously restored and remastered by French engineer Nicolas Thelliez, the original version is featured here together with remixes by three talented producers: French House/Disco producer extraordinaire Yuksek and his wall of sound skills, Netherlands’ Afro lovers and world famous studio maverick Umoja delivering a space dub Lee Scratch Perry style, and last but not least, the trademarked syncopated stabs from Brooklyn’s Uproot Andy.

Salford's Cong Burn drop the latest in their ongoing 12" series feating entries from regulars Chekov, Perfume Advert & Lack, with newcomer Tonto making their debut. At A1 Lack provides a low key roller subtely flashing glimpses of their studio sleight of hand and their ability to craft rhythms with real momentum. Tonto's 'Rust' slows things down with a sub 110bpm DJ tool that pings splashy springs, bird calls and ascending sine tones - made for long blends and layering!

Leeds' own Chekov continues to intricately weave interlocking melodies in their most finely sculpted effort to date - with some
Idiots Are Winning indications which are more than welcome. Salford/Teeside's Perfume Advert wear their heart on their sleeve
for an emotional 130bpm+ closer.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Leo Sayer’ is Leo Sayer’s 6th album, originally released in 1978, reaching #15 in UK Albums Chart and features the hits ‘I Can't Stop Loving You (Though I Try)’ and ‘Raining In My Heart’. This was the final album that Leo wholly recorded in Los Angeles, with legendary and in-demand producer Richard Perry and marked a departure from his early albums. Richard Perry brought in a variety of songwriters and collaborators to work on the projects with Leo; it was a venerable Who’s Who of the record industry. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.

Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?

On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

"Canyons", after all, are magical places of rare beauty. (Mr. Mellow - Porcaroc Club/Mr. Mellow's Sunday Scene/Soho Radio).

Eastwood Rides Again follows the theme of Lee ‘Scratch’ Perry & The Upsetters previous classic, Return Of Django - and like that one, the groove isn’t just the rocksteady rhythms you’d expect – but also maybe this more spacious version of the style. They got their funk on with the inspiration of Spaghetti Westerns and soul music. The record is largely instrumental and it's a representation of Perry’s significant production skills. Lee ‘Scratch’ Perry was a pioneer in the 1970's development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

Algiers return with third album 'There Is No Year', released on Matador Records. ‘There Is No Year’ solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche. This latest offering is available on CD and LP. Vinyl comes with a bonus 7” flexi disc

Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.

The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.

Mastered by Rude 66.
Graphic design by Lee Douglas.

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

First run on marbled vinyl!

During a career spanning decades, under a spread of monikers, Lee Norris has weaved musical gold. Shipwrec know this. Once again the dutch imprint delves into the Metamatics' archives to come up with audio treasures. Instamatic, released in 2014, is the source material for the "Instamatic EP" with four tracks being revisited from the album. As with all of Norris' work, a depth of expression can be enjoyed from the outset. Mixing elements of electro, electronica and IDM, "Neon Future Blue" is a warm textured and simply addictive opener. Subtlety and form are tinkered and toyed with in the ruffled edges and stark lines of "Cosmic Emotion" before the grandeur and isolation that is "Metamatix." Fragility and the ephemeral combine in the closer. "Haethear" casts whimsical notes to the wind, gentle currents shift as basslines bubble against crushed beats. Simply sublime from a true master.

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Muìsica Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagaìn comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alieniìgena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980's as Finders Keepers present Pagaìn’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21 st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisioì de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micro- memory in the hearts of an entire generation of Catalonian cosmonauts.

This special Finders Keepers edition comes complete with all of Pagaìn’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

Officially licensed, remastered reissue of a rare and obscure experimental jam from Rotterdam, 'Cor Corora' by Nyra Bakiga, original copies of which have been selling for upwards of £300 on Discogs. Produced by Peter Graute and Martin Van Der Leer, who ran the punk/new wave label and record store Backstreet Backlash Records, 'Cor Corora' is an exploratory journey that sounds light-years ahead of it's 1981 release. Warped, crunched beats, twisted guitars and space echoed delays lay the foundation for Nyra's sublime vocals - who was the wife of an African ambassador in the Netherlands, where her paths crossed with the Backstreet Backlash duo. nsurprisingly the likes of Daniele Baldelli and Beppe Loda were giving 'Cor Corora' rotations in the early days of the Italian Afro Cosmic scene and the track is still a prized possession in the record bags of some of the best selectors around, including everyone from Peanut Butter Wolf to Manfredas.

We are proud to present the first release of Believe! International Records – the re-issue of Kirk Reed "California", "Shawn Lee Mix".

American songwriter and artist Kirk Reed first published the west coast gem "California" in 1979. It was the b-side of the Meca Records 7" release "Lazy Mind". The song is a folky groover that pays tribute to The Golden State through its imagery of sunshine and wide open roads. The original record is in high demand among collectors.

The flip side features an exclusive mix of the track by Shawn Lee (Shawn Lee's Ping Pong Orchestra/Young Gun Silver Fox).
Shawn has performed a full studio re-work of "California" with added instrumentation, vocals and production. The result is a luscious adaptation of the original song that truly captures its casual west coast vibe. creditKirk Reed: California.

Written by Kirk Reed. Producer: Carl Edmondson.
Originally released on Meca Records 1979. Shawn Lee Mix: Mix & additional production by Shawn Lee. Shawn Lee: background vocals, guitar solo, Jen SX1000 synth, Crumar MultiMan-S, bass drum, toms, congas, wood blocks, shaker, tambourine. Recorded by Pierre Duplan.
Mixed by: Pierre Duplan & Shawn Lee at The Shop London.

limited pressing 200 copies

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

'All We Are' & 'Alex Kapranos' Both Have History With Speedy Wunderground. Label Boss 'Dan Carey' Produced Awa's Shimmering Self-titled Debut Album & Also Franz Ferdinand's Third Long-player Tonight: Franz Ferdinand. For The Latter Carey Also Created A Dub Remix Version Of The Entire Album Called Blood, Tapping Into His Love Of Dub And Earlier Work With Artists Like Lee Scratch Perry And Mad Professor.

In True Speedy Style This New Collaboration Came About Completely Off The Cuff. Kapranos Came To The Speedy Wunderground Stage At London's Label Mates Festival At Moth Club In Late Jan To See An Artist He Had Been Working With Play. All We Are Were Also On The Bill, And After Chatting With The Band And Dan They Invited Alex To Come To The Speedy Session They Had Planned With The Band Two Days Later At Dan's Studio In Streatham.

Once In A Room Together The Music Came Fast. The Remainder Of The Day Was Spent Forming Lyrical Ideas. All Present Including Carey Contributed, Jotting Down Ideas, Excerpts Of The Days Phrases And Conversations And Putting Them Together In True William Burroughs Cut-ups Style. 'It Was A Way To Detach From Conventional Song Subject-matter' Says Kapranos. All We Are Agreed, 'The Writing Process Was A Lot Of Fun And For Us A Completely Fresh Way Of Looking At It.'

... The Resulting Track 'Heart Attack' Is A Skittering Disco-post-punk Jam. Equal Parts Of All Their Day Jobs Form Something Fresh, With Echoes Of Talking Heads And Alex's Unmistakable Vocal Delivery Over The Top. 'The Speedy Tracks Are Always Such A Good Vibe And The Studio Is Such A Special Place' Say All We Are. Kapranos Adds, 'as I Think Is Typical For The Label, Nothing Existed In The Morning When We Got Together, And Then Suddenly Everything Was Completed And Recorded By The Time We Went For A Pizza In The Evening.'

- Get Out Of The K-hole. Get On To The Beach.

‘I Want You To Be Mine’ has all the hallmarks of classic 1960’s Rocksteady, an era which many refer too as the Golden Age of Jamaican music. Over the top of a live one-drop beat, cool & deadly sax and warm analog guitar & bass Deemas J rides the riddim in a ‘old time style & fashion’ whilst Rachel Wallace provides the perfect accompaniment with her gorgeous vocal. On the B-Side we have the deeper cut ‘Questions’, where Deemas delivers a poignant poem over Adam Prescott’s moody instrumental in the style of Linton Kwesi Johnson. Featuring live instrumentation from Harry ‘Papa B’ Bradford (Sax), Clifford Junior (Guitar) & Guillaume Metenier (Hammond Organ). As an integral part of the Reggae Roast Soundsystem team Adam has established himself as one of the finest selectors in the world. Initially with some early support and guidance from Mark Iration (from the Leeds based Iration Steppas), Adam was quickly recognised as one of the key players in the re-emergence of British Reggae, producing first class original songs featuring the likes of Cornel Campbell, Macka B, Sugar Minott, Ranking Joe, Rod Taylor, Johnny Osbourne & Earl 16 to name but a few. Add to that consistent play on BBC Radio One & Rinse FM plus huge support from Sir David Rodigan, featuring Adam on his ‘Best Of British’ show on 1Xtra, Adam has become one of the hottest prospects in the revival of soundsystem music. Deemas J has built a formidable reputation as a go-to MC & vocalist with equally genre-busting credentials; His background in Reggae & Jungle means that his lyrical skills and style holds no bounds. He currently works with 3 of the top London Reggae Soundsystems, Unit 137, Reggae Roast & Solution Soundsystem as well as running his own Sound Limey Banton Bass in Guernsey. He has released music on some very well known labels such as Irie Ites, Irish Moss & Tru Thoughts, which released the cult LP ‘Wrongtom Meets Deemas J in East London’. More recently his latest release ‘Muhammed Ali’ received fantastic support from Don Letts, Sir David Rodigan & Ras Kwame. His virtually endless CV boasts collaborations with everyone across the worlds of Drum & Bass, Old School, Garage, Reggae and Hip hop, including High Contrast, Andy C, DJ EZ and Nick Manasseh to name just a few as well as touring the world with Manudigital

"3x12" - Vinly Only.

The second instalment of minimood's multidisciplinary fusion series features Die Wilde Jagd with an extensive rework of the neo-romantic ’Morgenrot’ as well as a vast array of diverse remixes by Ancient Methods, CV313, Luigi Tozzi, Roman Flügel, Rude 66, Steve Bug, The KVB, Vactrol Park, and Variant. This gatefold 3x12" vinyl only release is visually enhanced with intricate hand-drawn artwork including inlay by Dusseldorf based artist Susanne Giring. Written and recorded by Sebastian Lee Philipp with his Uhrwald Orange studio collaborator Ralf Beck, ’Morgenrot’ originally appeared on Die Wilde Jagd's debut album in 2015.

For this release, Philipp and Beck re-visited the song: the ensuing ‘Fangschuss Version' enjoys an augmented arrangement, additional instrumentation and a haunting guest vocal by New- Zealand based singer Nina Siegler. In Philipp’s words, the 'Fangschuss Version' constitutes “a venture to capture the spirit that has been guiding this fusion release - a desire to explore the concepts of friendship, time, distance and memory. An attempt to unveil fragments of the unseen and to reveal the surge of a distant remembrance in an embracive listening experience." 'Morgenrot' subsequently gets a highly varied remix treatment by a range of carefully selected artists.

While Vactrol Park navigate the original audio material into beautiful ambient territory, Ancient Methods showcase an epic masterpiece of enchanting medieval-vibed techno. The KVB turn the track into a dreamy cold-wave trip and Rude 66 dives into a dark, primetime, anthemic dimension. For Roman Flügel, it’s a slow, organic, starry-eyed approach and Luigi Tozzi transforms 'Morgenrot' into hypnotic & loopy, minimal, deep techno. The rework by Steve Bug plays with the original's melody and a danceable kosmische-infused house cut emerges.

The final two remixes are both crafted by legendary Echospace Detroit mastermind Stephen Hitchell: absorbing deep trips into mesmerizing dubtechno by CV313 and into foggy lo-fi ambient by Variant.

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

A-Future presents a fierce electro-charged production debut for EON Records.
After a solid summer of gigs at IICON Glastonbury, Inner City Electronic Leeds, Gottwood and Boiler Room, A-Future now shares a progression for his DJ project which has been impressing crowds across the UK with its range of left field beats and punchy up-tempo tracks.
Deploying tricks learned from his weighty record collection, the Birmingham based producer works in hardcore breakbeat flares, deep electro basslines and headsy IDM synths into original track No Era for what is a high-grade first showing.
Censor records head and long time friend Alex Jann and Berlin’s mysterious electronica producer Secret Universe provide a remix each. Jann comes in deep with a gritty bass line that drives his version with a solid flow primed for 140bpm dance floors. Secret Universe then sets etherial moments beside to belting syncopated jungle beat programming for a headsy and heavy take on No Era.
This is the second release on A-Future’s EON Records label which launched in March 2019 with Sepehr’s Cybernetic EP featuring Stratowerx and A-Future remixes.

The highly anticipated album by Jay-Z's 4:44 soul hurricane Hannah Williams & the Affirmations produced by award-winning composer and multi-instrumentalist Shawn Lee.

Hannah Williams, the British soul hurricane who sensationally became part of Jay-Z's chart-topping 4:44 album, is primed and ready for her own national and international breakthrough.

Williams turned heads worldwide when the hip-hop superstar sampled her heart-stopping vocals on 'Late Nights & Heartbreak' for the title track, '4.44' on his 2017 album. Now Hannah and her exemplary, Bristol-based band the Affirmations deliver a definitive career statement with the drop-dead soulful new album 50 Foot Woman which will be released October 18th on the Milan based imprint Record Kicks.

The album captures all of the visceral power of the band's increasingly legendary live performances. Shades of classic Soul and Psychedelic Funk blend uniquely with modern-day flavours on a record destined to set the soul agenda for 2019 and far beyond. "I've never been as proud of anything in my entire career" says Hannah.

Born in High Wycombe in Buckinghamshire, Williams'father was a musically gifted minister, and her mother let her join the church choir at the age of six. Hannah could read music before she could properly read words, and when she discovered soul by listening with her mum to Motown and Bill Withers, there was no turning back.

After a 2012 debut with her previous band the Tastemakers, it was 2016's Late Nights & Heartbreak that announced the arrival of Hannah Williams and the Affirmations. But little did she know that Jay-Z was listening. One day, at her then-day job running the music department at the University of Winchester, he sent her a text.

Once she'd established that it wasn't a wind-up, and summoned the courage to call him back, she learned that JayZ's producer, No I.D., had played him Hannah's track to inspire his response to Beyoncé's Lemonade, on which she sang of his infidelities.

Williams was as in the dark about how 'Late Nights & Heartbreak' would be used until 4:44 dropped. But the substantial sample of her voice opened doors she never dreamed of. "It was an incredible catalyst," she says, "as a change in our collective career, and getting a global audience. Suddenly, there were millions of predominantly American hip-hop fans listening to my voice, going 'Is this from the '60s? Is she dead?'"

What followed was a year of the band's widest-ever touring including an invitation to perform at Central Park Summer Stage NY, Toronto Jazz Festival and Brooklyn Bowl NY and expanded audiences in continental Europe where she and the Affirmations had already made a mark. Then came the burning determination to make the record of their lives. The captivating 50 Foot Woman is that album, produced by Shawn Lee, a respected presence on the funk/soul scene whose credits include Amy Winehouse, Lana Del Rey and Alicia Keys. Lee has released five solo albums as Shawn Lee's Ping Pong Orchestra on San Francisco label Ubiquity Records and is also one half of the cool melodic pop duo Young Gun Silver Fox.

Now the world will hear what the cognoscenti have known for a while: that Hannah Williams is the real deal, and sings from her very soul. "I feel like my performance comes from my solar plexus," she says. "The emotional side of it is so intrinsic; I can't take it away from what I do."

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!











k 11 Sweet Time (feat. Izo FitzRoy) clip

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output.

Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play.

After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play.

This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end.

The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark.
To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

Giallo Disco is more than happy to welcome one of the absolute O.Gs of the 2nd wave of horror synth, the one and only Kansas City Warrior turned Mr Dr Hollywood himself… Umberto, who’s new EP ‘Outskirts Of Reno’ takes us deep into the seedy underbelly to tell the tale of a kidnapping. From the EBM dancefloor darkness of The Basement to the ascension-like arps of Repeat. Five brand new tracks from the master of mood destined to work it’s way into the record bags of discerning DJs across the globe… and into the nightmares of the weak… Limited to 200 Copies. Art by Eric A Lee.

(180gr vinyl) Polysom re-issue of Gilberto Gil rare 3rd album, and a key piece of the Tropicalia puzzle – one of the most wildly experimental albums from those years, and Gil's last before going into exile! Tracks include "Cerebro Eletronico", "Volks Volkswagen Blue", "Futurivel", and "2001", which was written by Tom Ze and Rita Lee – plus the wild cut "Objecto Semi-Identificado" with vocals by Gil!

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

A mainstay of the independent funk, soul and blues scene - Dr Rubberfunk's home-grown, honestly composed, and intricately produced recordings, combined with a hands-on approach both in front of and behind the mixing desk, have earned him a well-deserved reputation for being a name synonymous with quality.

That quality just keeps coming as he carries his successful 'My Life At 45' singles series into a third instalment. With two sell out runs of limited edition 45's having won praise from the likes of BBC6 Music, driven mixes on Mixcloud to the top of their charts, and garnered support across the blogosphere, it made sense to continue the good work and get to work on number three.

Extending his fruitful relationship producing fellow Jalapeno Records artist and soul gospel specialist Izo FitzRoy, the lead track sees them team up for some timeless songwriting in the shape of 'A Matter Of Time'.

Izo is on a real hot streak at the moment having featured on Pt.2 of this 7" series before going on to work with Shawn Lee (BBE Records) and Dimitri From Paris (Glitterbox) on singles that tore up radio charts worldwide. And she delivers on this track once again, with the catchiest melody you'll hear this year over Rubberfunk's tasteful, upbeat and lively production.

Backing it up is the bluesy 'Slim's Mood' which allows the Rubberfunk band to stretch their legs over a driving soul jazz arrangement that's a must for fans of 'Boogaloo Joe' Jones and Grant Green. ... As before, it's likely to be another sell out run, so move quickly before they disappear!

My Rules records is back with their first release of 2019 - the highly sought after cosmic disco bomb Movin' by Belgian group Candy Darling & The Viscounts.
The A side features the original Japan only 12" promo mix, a disco cover of a Lee Hazelwood surf song.
On the flip you'll find My Rules label boss Justin Van Der Volgen's edit which extends, teases and restructures the track for dancers in the all right ways.
Tried and tested in bars, clubs and festivals around the world, this is a record not to be missed...

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….

Secretsundaze welcomes Eliphino to the gala relaunch of their imprint for a thoroughly satisfying mini album of contemplative jacking and dulcet breakbeats.

Eliphino's most recent 'Realistic Sex EP' on the hotly tipped Meda Fury label boasts thunderous breaks, 303s and serious sub-bass pressure which has gained praise from tastemakers such as Jon K, Carista, Josey Rebelle, Moxie and Gilles Peterson.Having flexed with this darker edged EP after a long lay-off from releasing, while sharpening his skills and reconnecting with his musical inspiration, Eliphino is now ready to really cut loose with 'Breaking Up Is Hard' - a statement longplayer that dreamily investigates the dusty spaces between house, breakbeat, ambient, hardcore and acid. Tom This album came about as way of focussing my energy in the wake of a significant break up. I tried to experiment with melody and texture to convey some of the range of emotions that come with such a testing time. That being said, the B-side bangers are more dedicated to abandon and forgetting your worries.

Hailing originally from the Leeds, but with time spent in both London and Berlin, 'Breaking Up Is Hard' lands somewhere between the Hessle Audio crew, Joy O and Selected Ambient Works era Aphex.

Having previously released heaters for Brownswood and Hoya Hoya over the years, Eliphino stepping up for the debut artist LP on the reactivated Secretsundaze label feels like a natural fit as James Priestley explains:

""We've collectively had a connection and friendship with Tom that goes back several years and in fact it was receiving this work as demos that really spurred and inspired us into getting the label rolling again. It feels totally right to be working with him on this and for this mini-LP to herald the relaunch of the label as it moves towards a more artist led as opposed to EP driven approach.

This album is a must have for anyone interested in Lee Perry. He produced this album just after the birth of his daughter and you can feel his joy in the music.

It is filled with top-quality music -- instrumental for the most part -- with the spaciest thing being the sound of a roller-rink organ over reggae. The grooves are solid and slower than before, Perry stacks all the sounds just right, and Count Prince Miller’s buoyant and animated take on “Mule Train” is not to be missed. Neither is Dave Barker’s sweet crooning on “Will You Still Love Me” or “The Result’s” sparkling keyboard line.

Lee ‘Scratch’ Perry was a pioneer in the development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Now available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer- songwriter Sonny Johns AKA The Rail Abandon. The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

There are many differences between Isaac and Sonny, but a powerful similarity -- which gives Kalba its element of relatability -- is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

“It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with “He plays the modern way!” Partly dismissive, mostly proud,” said Sonny. “And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence.”

There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.

Next up on Fake's Various Artist Series we have a stellar lineup, Lee Daines leads the line with the minimal groover 'Stokkie', One of the undergrounds legends Gel Abril teams up with Berlin Based Oskar Szafraniec with a peak time track for dancefloor 'Energy Flow'. On the flip we have two stalwarts of the minimal scene, Ukranian Pharba and long time friend of fake Just_me with a super cool track that's full of energy 'ride', And to finish off we have up and coming talent Soyro with his minimalistic breaks track 'Moonset'

2 years ago the track Still Numbers on Ekin Fil's album Heavy caught the attention of a certain Richard D. James, who under his 'user18081971' username reposted the track to his now historic Soundcloud dump.

This is also how Ekin’s work initially caught the labels attention; at first listen it sounded like a unearthed Grouper demo, a parallel that can be drawn respectfully, seeing Ekin’s trade marks are also those forlorn, muffled vocal whispers, layered under sentimental tape loops, paired with ambience and feedback.

The album itself was originally produced in 5 years ago during what Ekin Fil recalls as a down right depressing and tumultuous time during which she turned to music as a measure of rehabilitation.

Heavy was later released on tape via Lee Nobles No Kings label in 2016 and re-mastered in 2018 from the tape rips by Rashad Backer, preserving the fragile and heavy hearted auditory sensibility found in the original work, while making one of Ekin’s earliest and most personally endearing releases available to a new audience of listeners.

Formed in Bradford in 1980, New Model Army's beginnings were inspired by Northern Soul, Punk Rock and the incendiary atmosphere of the times. Since then, they have had a long, creative and eventful journey. They have been massively influential in 'post-punk', 'folkrock', 'political-rock', 'goth', 'metal' and all kinds of musical sub-cultures but they have steadfastly refused to belong to any club or style. Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on both a personal and political scale, locally and globally. 'From Here' was recorded earlier on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing. The album was mostly written in just two months and recorded in only nine days and is the follow up on the two hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016). New Model Army decided to work again with Lee Smith and Jamie Lockhart, with whom they have developed a productive relationship over a few years and who persuaded them to leave a lot of the details of the music to spontaneity. “This album has a feel that is different to our other albums, but it still contains all the elements that characterise our peculiarly unidentifiable music – perhaps even more than ever. And “From Here” was an obvious title. The record belongs to a very special place and a particular time – what is happening in the world, where we are as a band and where we are as people.” Print ads:Vive Le Rock, Classic Rock, Record Collector, Classic Pop). Artist undertaking promotion/interviews/press (Classic Rock, Record Collector, Vive le Rock, Louder than War, Long Live Vinyl). Extensive UK live tour Oct 8th - Dec 21st.