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Available again on vinyl, this quintessential collector’s edition includes Sam Cooke’s sensational album, Twistin’ the Night Away, originally issued by the RCA Victor label in 1962. It was Cooke’s second effort following his 1957 debut LP, and remains one of the singer’s most accessible records despite the fact that the material consists primarily of “Twist” numbers chosen by the producers to cash in on that craze. Cooke was shoehorned into doing numbers like “Camptown Twist”, “Twistin’ in the Kitchen With Dinah”, and “Twistin’ in the Old Town”, as well as his version of Hank Ballard's “The Twist”.

He is at his most soulful, exciting, and passionate, on the popular title track “Twistin’ the Night Away”; the bluesy “Somebody Have Mercy”; the romantic lament “Somebody’s Gonna Miss Me”; the ebullient “Sugar Dumpling”; the achingly beautiful “A Whole Lot of Woman”; the soaring “Soothe Me” (with Lou Rawls); and the slow dance number “Movin’ and Groovin’”. In 2001, music critic Bruce Eder declared, “Twisting the Night Away is not only one of the great dance albums of its period, but a brilliant soul album as well, which is why it holds up 40 years later.”

REISSUED ON GLACIAL BLUE VINYL! Papercuts' You Can Have What You Want is the third phase in Jason Quever's ongoing pop investigations. The relatively earthbound happy/sad pop of Mockingbird and Can't Go Back has been launched into the vault of the skies. Here, Quever delves further into epic dream-pop using mostly vintage organs, pulsing bass, and Kraut-via-Ringo-inspired drum rhythms. Intact from those earlier efforts is Quever's sense of arrangement and drama, as well as his soaring vocals, draped in reverb gauze. The words reveal a fascination with mortality and things cosmic, while sonically the voice acts as another instrument. This obsessively all-analog effort (no computer processing here whatsoever!) cuts across several eras of dreamy sound: '80s/'90s Creation and 4AD Records, The Zombies, '60s French pop, even Can's Future Days--and then there's the inevitable connection to former tourmates Beach House and Grizzly Bear. Indeed, Beach House's Alex Scally helped with some of the arrangements, though You Can Have What You Want is its own strain of addictive pop. For many, it will be the blissful/melancholy jam of the spring and summer. Quever was raised on a commune in Humboldt County, orphaned, and moved up and down the West Coast before calling San Francisco home and starting Papercuts, initially as a four-track recording project. When not performing with his own band, he can often be found recording others in his studio and filling in when needed as a multi-instrumentalist in friends' groups. "It takes a few seconds of Papercuts' second album, Can't Go Back, to think that maybe you've stumbled upon something special, a delicate mood piece made to slice through the din and chaos of modern life." --Pitckfork (8.3 rating

012’s upcoming Various Artists "Lunae" is an enchanting ode to the depths of dub and deep techno. This imminent work sees a collaboration of talented producers: Danieli, Vera Logdanidi, Blazej Malinowski, and label head, Claudio PRC. Each artist brings their unique signature, unveiling an extraordinary and genre-defining musical experience. Dub techno vibrations intertwine with ambient layers and hypnotic rhythms, carrying the listener to a dimension where time seems suspended and emotions flow freely. “Lunae” it's a total immersion into an enveloping and adventurous atmosphere, embracing the depth of the human soul while merging with the immensity of sonic space.

repressed !

Along the west coast of Co Kerry in Ireland you will find the amazing Valentia Island.

Attached by a bridge to the mainland, it is a place of beauty touched by years of history and the songs of the sea.

I managed to obtain a house there for a few weeks, I took my computer and mic with me not knowing what to expect when I got there. In one of the rooms sat a piano, and as my fingers touched the keys I knew there was a story there waiting to be told.

The sound of the piano in that place was something very magical as 100mph winds battered the house and interrupted my recordings.
Other material has since emerged from those days spent on the island, but the main body of work that I recorded there makes up this album that I now present to you.

Album support from: Gilles Peterson, Skream, Laurent Garnier, Patrick Forge, Jean-Claude (IF), Soulclap, Joszif, Makoto, Breach, Flight, dBridge, Doc Scott, Trevino, Craig Richards, John B, Klaus
Fiehe. Mr Scruff....

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

tapetopia 006 In 1983, some more subdued sounds began to waft from the GDR punk underground into the second half of the ’80s. At five to the end of time, it was perpetually striking midnight and the occasional punk band would mix a little laudanum into their potential for aggression. Portents in this vein preceded a dark wave whose foamy crest would break on fog walls of dry ice. Especially in Leipzig and East Berlin, a chain-rattling zeitgeist produced bands that drew from a dark well. Many of these bands arose from the still hot or already cold ashes of punk. The two founding fathers of Neuntage Alt, René Glofke and Taymur Streng (nicknamed “Strangler”), knew each other from the East Berlin punk scene. The third man aboard, Mike Sauer, played drums in the early 1980s for Sendeschluß, a punk band that, lost in thought somewhere in the no-man’s land between punk and post-punk, faded away in 1984. Punk was no longer the order of the day, but it was a form of expression among many and easy to combine. Glofke and Streng found common ground in experimental set-ups with such otherworldly names as Medusa Brahma or Die zeitweilige Erscheinung.
From this far-flung point of departure, a short tunnel led straight into the black light of Neuntage Alt, the coldest star in the low-hanging sky above East Berlin. Neuntage Alt appeared at the end of 1986, during the last blackout phase of the GDR, on the threshold between the underground and the so-called “other bands” – a scene that used the non-socio-critical approach of German Wutwave (“anger wave”) in order to be allowed to perform publicly. In the context of this scene, Neuntage Alt did not belong to the inner circle. Moreover, the band’s subcultural base was initially in Mahlsdorf, on the south-eastern edge of East Berlin. This was where the DIY sound studio of amplitude apostle and great modulator Taymur Streng was situated. Strangler held the position of house electrician and keyboard god in various projects. One of them had the bland alias Mahlsdorfer Wohnstuben Orchester, behind which the avant-garde court chapel of the bungalow studio was concealed. There Taymur also conspired with the East Berlin underground band Ornament & Verbrechen (tapetopia #001). Ronald Lippok of Ornament & Verbrechen remembers how once, at the opening of a joint session, he and his brother Robert attended Taymur’s engaging slide show of his collection of test patterns. Afterwards, they created a piece with the psychedelic title “Das sentimentale UfO”, which sheds an iridescent light on the bizarre atmosphere in the studio. Taymur’s obsession with technology was legendary. The home studio was also his living space; a circuit, a machine park of screwed and soldered equipment, a single keyboard orgy. His own creations were also based on circuit diagrams found in the radio amateur magazine “Funkamateur”. Its somewhat clueless subtitle “Praktische Elektronik Für Alle” (Practical Electronics for All)

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Rich in ancestral flows, between Ghana and Europe, powered by deep, conga led rhythms and seductive warm horn riffs come Jembaa Groove, whose new album and newly rendered sound, reminds us that jazz, in its contemporary, soulful form is not just a London ‘ting’. Highlife is Ghana’s colourful national tradition and is at the heart of Berlin based Jembaa Groove’s groove. And this newly crafted follow up to their debut album. Susuma from 2022, goes even further in provoking new perceptions of jazz and soul music helped by young and senior blood from Ghana and its diaspora. Vocal masterclasses come via Sheffield (UK) based K.O.G and original veteran of the 70s and 80s highlife scene Gyedu Blay Ambolley with Ghanian multi-instrumentalist and producer Kwame Yeboah (Kwashibu Area Band) also providing inspiration.

Yet this is not a breakout moment. For the last 2 years Jembaa Groove have been entertaining discerning dancefloors worldwide. They continue to ratchet up a solid and loyal fanbase buoyed by breakout performances at SXSW (USA), ESNS and Supersonic Jazz Festival (Netherlands). And now looking through the keyhole of 2024, with live headline and album launching dates in April confirmed in London, Paris, Madrid and Berlin and an exciting touring schedule ahead, the future of contemporary, highlife inspired Afro-Jazz is in motion and spreading like gospel.

London-born-and-raised DJ and producer Parris has announced his new EP Passionfruit, which is to be released on 22nd March 2024 via his own co-founded label can you feel the sun. Following his stand-out 2021 album Soaked In Indigo Moonlight, described as a “masterful” take on the pop genre (Crack Magazine), Passionfruit continues Parris’ affinity for polyrhythms and bouncing synths, but diving deeper into his love for clubbing and UK soundsystems, the result is a heady house compilation.

Each track on the EP is in contention with the one before it, a counterpoint to a sonic argument; melodic bubbly pop against heavy drum and bass, morning rays of sunlight against dark and swampy rhythms. Where the title track “Passionfruit” was described by Parris as imagining the “early morning of a set with the sunrise coming through the shutters”, the very next track “Slipping, Falling, Crawling” is much like the title suggests: a sludgy, percussion-heavy track which has fun with creating melody from the beat itself, stripped back and raw intent.

“Why Can’t Rabbits Wear Cowboy Boots” and “Underwater Fantasy” are almost alternate universe club classics. “WCRWCB” takes a club-formed structure, and uses it to explore the limits polyrhythms, layering chaotically over eachother, and building through the first half of the track, until it peaks with the introduction of an explosive bassline. “Underwater Fantasy” on the surface is the straightest-sounding track to come from Parris, but the disco-style vocals fight with the beat, pushing and pulling at eachother.

Parris (aka Dwayne Parris-Robinson) has dedicated himself to club culture from an early age, never missing a week at FWD>> (the club night where a generation of bass and techno DJs made their names), and was constantly tuning into Rinse FM. Immersing himself into the distinct sound of London built the foundations of the productions we hear today, with grime and drum & bass bubbling alongside slick pop references.

Keyboardist and composer Carl Moore originally wrote, recorded and pressed only 100 (!) copies of these tracks, grabbing a quick moment of studio time during a tour of Japan in the early 1980s. Moore’s purple patch saw him becoming peers with artists such as Phyllis Hyman, Jean Carn, Janet Jackson and ‘The King of Gospel’, James Cleveland.

Carter Lake is an energetic 2 minutes 30 second blast of pure dance floor joy, that looks back at carefree days, teenage love and love lost. Moore’s voice soars, and showcases his love for the powerful stylings of jazz and gospel. On the flip, Must Be The Beat sees him explore very different textures and could easily be a long lost Prince recording found in the vaults in Paisley Park. Sounding like something jammed late at night, this one is perfect for the afterhours when there are 30 sweaty dancers left on the floor at 5am that just don’t want to go home!

This is the first release on Sweet Free Association, a new label founded by Sam Don, the DJ and curator responsible for the recent lovers rock and UK soul comps For The Love of You and Just A Touch. Born out of the wish to find another way of sharing ‘the fruits’ from his Free Association radio show and parties, these impossibly rare disco tracks are now available to a wider audience for the first time, as the vast majority of the original copies have been long lost.

Mastered at The Carvery, the lo-fi recordings have been skilfully lifted by Frank Merritt to sound big in the club, while retaining the original charm in the sound that made the tracks stand out to Sam in the first instance.

Finland's own Otto Taimela, a pro-skateboarder-turned-producer-pianist, makes his Cold Blow debut with "Sunflower Seeds”, merging jungle breaks with Boards-of-Canadaesque nostalgia with mesmerizing results. Led by the streaming hit "Sunflower," the EP feels like a hazy, late spring morning sun filled with childlike energy, abandoning the roots of its inspirations in favor of his native landscapes.

Limited to just 175 copies, this release is bound to be in high demand. Don’t miss out on the vinyl-only B3 track; grab your copy while you can!

Looking at Otto's discography, he could be described as one of the most versatile and prolific contemporary artists in Finland. His debut vinyl, "Kimmeltie," launched in 2020 under the famous avant-garde label Ultraääni Records. Word spread globally, and records sold out quickly, making Kimmeltie a rare collectible among experimental music lovers. Since then, Otto's cassettes and vinyl records have been distributed, sold and played all around the globe.

Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

Dwell Time II is the second part of a three-part project on Past Inside The Present from T.R. Jordan. Each of the albums was made using the same material in the same time frame, and they are all part of one overarching and coherent suite that he refers to as "musical composting." This is the cassette tape version and it is full of grainy, fluttering howls, soft warbling pads, pastoral references like flowing streams and mossy rocks and plenty of grand spatial elegance that harks back to the likes of Hiroshi Yoshimura and early Brian Eno experiments. Another immersive offering from this fine label, then.

Original soundtrack of the acclaimed anime, printed on red vinyl.

Thus begins the story of the man who would become the greatest thief of all time...While Tokyo is experiencing tremendous economic growth, a young schoolboy leads a boring life. One day, he catches a guy pointing a gun at a delinquent. When he meets up with this person again a little later, something happens that leads them to team up...

"Nemesisters is the third and final studio album recorded by Babes in Toyland. It was produced by Tim Mac at AmRep Studios in Minneapolis, Minnesota and released in May 1995. Unlike on the group's previous releases, they opted to record together to capture a ""live band"" sound; on their previous release, Fontanelle, bassist Maureen Herman had recorded her bass tracks separately from vocalist-guitarist Kat Bjelland and drummer Lori Barbero. This album contains a killer version of Sister Sledge’s ""We Are Family"" and a cover version of Eric Carmen's ""All by Myself"". Nemesisters is available as a limited edition of 750 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve. "

Nemesisters by Babes In Toyland, released 5 April 2024, includes the following tracks: "Drivin' ", "Surd", "Killer on the Road ", "Middle Man " and more.

This version of Nemesisters comes as a 1xLP in a(n) Gatefold Sleeve packaging.

, Old fat furry cat-puss , Wake up and look at this thing that I bring, Wake up, be bright , Be golden and light , Bagpuss, Oh hear what I sing. 12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour. The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed." Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to Sandra and John to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind." The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them. "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity."Stewart Lee