Buscar:ll

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

A Wide ranging, eclectic and progressive musical outlook has always been the Lack of Afro approach. His latest material follows suit as he harnesses disparate musical styles ranging from funk, soul and hip-hop to create a contemporary yet vintage musical escapade of superb songs.


On his 4th studio album for Freestyle Records, the influences, sounds and musical textures are more eclectic than ever. Below, Adam talks us through some of the his favourite moments on 'Music For Adverts'.


First out of the box is the steaming funk killer Freedom: This time around I knew I didn't want an intro or a skit to start the album - I needed a strong, heavy opener - I had the melody for the chorus floating around in my head. It was then just a case of working with Jack Tyson - Charles on the rest of it and getting the vibe that the song required.


Long time Lack Of Afro collaborator Herbal T features on Brown Sugar: I had an idea of doing a disco track with an emcee on it, which you don't really hear often. This is actually the first time I've sung on a Lack of Afro track, adding my backing vocal warblings on the choruses! Special shout to George Cooper for the howlin' Hammond solo at the end too.


Of the gritty instrumental No Guts, No Glory Adam explains: I wanted to include 3 instrumentals as I always have a soft spot for them & it's what people know me for. The 'choir' was recorded by layering up my own voice in different octaves, nothing is auto-tuned, its all real. The studio allows me to do stuff like that but I could never sing live - I'll leave that to the proper vocalists.


'Proper vocalist' Jack Tyson - Charles again features on The Gypsy, which as Adam explains uses the classic song format to great effect: One of my favourite LOA tunes to date, Its in keeping with the album mission statement of wanting to write 'proper songs' instead of just grooves.

The Allergies are back with a new album – Rejoice! And the feel-good funk, hip-hop swagger, and dusty vintage loops, is everything you need right now.

Across the 13 tracks, producers Rackabeat and DJ Moneyshot dig deep into their souls, as well as their record collections, serving up a day-glo blast of super positive sampledelia that'll have you smiling from ear to ear.

Built from scratch during lockdown, each song offers up a world to lose yourself in, free from any and all dark clouds. It's their Promised Land, and everyone is welcome to bask in the sunshine.

Along for the ride is LA rap legend, Andy Cooper Ugly Duckling, soul sensation Marietta Smith, dance music heavyweight, Dynamite MC, and the unmistakable voice of hip-hop royalty, Lyrics Born.

Everyone got the memo, as career-best performances roll one after the other. And each singer, rapper, scratcher, and sampler, unites through the power of good good music.

Highlights on the LP include the swamp blues meets half-time hip-hop monster, 'Lean On You'. The Latin funk bomb, 'Move On Baby'. Soul rollers 'New Thing' and 'Are You Ready', and the show-stopping and stirring Moby-ish beat banger, 'Promised Land'.

Almost a concept album, the idea of fresh starts, strange new worlds, loss, solidarity, freedom, and the communities we find in clubs, festivals, and making and sharing music, began to come out, organically, through the song-writing process.

"In a weird way the album wrote itself," says DJ Moneyshot. "We'd be lost in our own little world of hypnotic loops as days passed, and samples jumped out of the shelves, and just started to make sense as they got chopped and layered into these tracks."

Early support for the singles, and response from fans across the globe, suggests that this, their fifth album, really could be something special. Come on in…

Session Victim and Erobique join forces once again for a beautiful cover version of Mark- Almond's "The City", starring Jamie Lloyd's enticing vocals and featuring Linnart Ebel's subtle rhythm guitar. Ever since Hauke Freer stumbled over Mark- Almond's final studio album Other People's Rooms at Montreal record store Death Of Vinyl a few years ago, the pair would regularily finish DJ nights with this 1978 recording of their hit single "The City" - and since then, the idea of recording their own rendition had been tossed around frequently. Carsten "Erobique" Meyer was not the first but really the duo's only choice to see this through and well, just listen to the impeccable Rhodes/Clavinet combination he came up with. However, it is Sydney's Jamie Lloyd who steals the show and takes the song into his realm, putting his very own stamp and character on this certified classic. Long time collaborator Linnart Ebel complete's the band with his ever subtle rhythm guitar. The two, three, four, five man house, not house band branches out for all the right reasons and this is the result.

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

Wunderhorse announces a debut single, Teal. It is streaming now via Yala! Records.

Wunderhorse is the alias of British musician Jacob Slater. Jacob fronted The Dead Pretties, a London band who arrived in a haze of hedonism and hype, bowing out before the dust had time to settle. Blink and you’d have missed them.

This new project arrives no less frenetically. Teal is a feral, romantic, visceral, chaotic and enchanting cacophony of sound that contradicts itself with each sleight of hand and change of chord. A rare, raw and assured talent, Teal is an urgent fever-dream of a number, tumbling downhill with the brakes off. Belligerent and unblinking. Arthouse indie-rock, but without the connotations. It’s one of those.

If this all sounds exciting that’s because it is. Teal is one of those tunes that has a rare ability to define the very moment in which its heard and forever associate itself with the memories long after. Time-stamped yet timeless. If there’s any justice, it’ll soon be played out live in sticky basement rooms up and down the country, limbs everywhere, sweat dripping from the walls. An absolute mess, but what a beautiful one.

There will be more from Wunderhorse, but for now this is Teal. Play it again, but play it louder.

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you’ll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb’s 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he’d already finished another album.

Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. “I need it,” he says, “I’ve tried working without it. On one acting job, I intentionally didn’t bring a guitar to try and do it without music... but that didn’t last long. I need to create

something - it could be a drawing, it could be a song - because otherwise I feel like I’m wasting time. Which is something I do plenty of on my own!”

With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different.

Gadzooks Vol. 1 is unlike anything you’ve heard before - comparisons range from Skip Spence’s fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon’s black moods on The White Album and Frank Zappa’s caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. “It’s like when you’re swimming in the pool,” he smiles, “and you’re doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it’s just a reaction from the place where we were before.”

Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. “I’m trying to write something very simple,” he says, “And it gets really abstract because I don’t know any other way.”

- Follow up to the critically acclaimed debut The Mother Stone
- Actor in Finch, Get Out, Twin Peaks, Three Billboards Outside Ebbing, Missouri
- Positive press for The Mother Stone ran in Pitchfork, Billboard, Entertainment Weekly, FLOOD, Newsweek, The AV Club, Document Journal, The New Yorker, The FADER, NPR and others

A Civil Rights activist who marched alongside Jesse Jackson, preacher for Earth Wind & Fire, Stax recording artist, “Family Feud” contestant, Stephen Curry soundtracker, high school drop out, and Kanye samplee, Pastor T. L. Barrett stuffed a dozen lives into one. His signature 1971 spiritual soul jam “Like A Ship” has transcended its humble South Side Chicago beginnings, rediscovered by Leon Bridges and Beck and described by Radioheadʼs Colin Greenwood as “The most euphoric celebratory music that makes you want to jump around the house and explode with joy.” This box is the definitive statement on Barrettʼs two decades of recordings, 49 tracks spread across five LPs, including Like A Ship, Do Not Pass Me By Volume 1 & 2, I Found The Answer, plus a bonus album of singles and sermons, a 10,000 word blow-by-blow, and illustrated discography.

Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

This time you'll find the Wax's #plectrum with the vinyl; a little gadget to stimulate your musical fantasies. (only for the first 200 orders!)

Four years and ten releases later we can say that Apparel Wax -the vinyl-faced hero- has been able to always renew itself and its sound because, as our manifesto says, we try not to submit to any genre. We wanted every release to be the outcome of a long research through uncommon sounds and APLWAX010, yet again, is an unidentified sonic object picked up by our radar. The last one though! We didn't plan it, we just felt like the time has come -eventually- to close this beautiful chapter. More than one factor led us to take this decision: the progressive concern about the planet (therefore the impossibility to keep producing plastic bags and gadgets), the desire to leave at our peak and to invent something new are just two of them. The constant process behind the renewal of our sound -which we embraced ten years ago with the birth of Apparel Music- sometimes passes through hard choices and we need to feel again that sensation of 'void' in order to create something fresh, different, as we did when we started Apparel Wax. We won't drag our masked hero to a point of sonic stagnation. We'd like to send you all a big greeting and a heartfelt thanks for every second of your time spent listening to Apparel Wax, it literally meant the world to us. What was initially just a bold idea became a musical reference point for many people around the world, and we will be forever grateful to y'all because, without you, it would have never been possible. Finally, a huge thanks to all the artists involved in the project. They contributed with their art to a bigger cause, the biggest: music. YOU are the true masked heroes, you are Apparel Wax. As for us, we'll live on and our sound too. Our ideas, our passion and dedication for the one and only thing that really makes us happy will never die. Something new will always come on our end because that's our purpose, our philosophy. Manman, what a journey has been, now on to the next one!

25 years ago the undisputed Godfather of Australian techno dropped LSD - the track that is - and at the time it was massively supported around the globe.

Here we are in the year 2021 and its time for the anniversary edition to be released on his bespoke label REFLECTOR. This release features a reimagining by producer Steve Ward and his Acid Manipulation accompanied by the newly remastered version of the HMC original.

Vinyl purists rejoice as this will be released first with a limited edition sleeve deigned by Adelaide/Australian Style Writer Kab 101 - be quick to secure your copy.

There will be a complete digital package including additional remixes to follow.

HMC was never one for hype so we’ll keep this brief except to say that we’re so excited for this to be played LOUD - again - across the sound systems of the world.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

"To mark the 50th anniversary of the 1970 concept double album, Jesus Christ Superstar, it has today been announced that a variety of special anniversary edition albums will be released on September 17th. This landmark release, which includes full cooperation from the creators Tim Rice and Andrew Lloyd Webber, features an array of exclusive demos, commentaries, interviews and much more.
The special anniversary editions are a celebration of the original 1970 concept double album and its continued success spanning 50 years. With the new editions all having been re-mastered at Abbey Road, fans have a great selection to choose from.

Brazilian-American power trio São Paulo Underground (Rob Mazurek, Mauricio Takara & Guilherme Granado) align their chakras with Tenerife electronic pranksters Tupperwear (Mladen Kurajica & Daniel Garcia) for an anything goes EP session of tropical jazz, Chicago post rock and general head scratching psych chants.

Recorded live in 2016 in a disused kerosene tank in Santa Cruz de Tenerife, Canary Islands after a week long residency. Now recompiled by the Keroxen label and presented here in its ripest form, certified ready for human consumption.

Each member plays multiple roles in creating Saturno Mágico’s unique organic evolving sound. Mazurek plays cornet and modular synths; Takara’s on drums, cavaquinho and electronics, whilst Granado plays keyboards, synthesizers, and sampler. Tupperwear add to the organic flow with Kurajica on various synths and keyboards whilst Garcia excels on electronics, live sampling, guitar and voices.

Another unique document from the Keroxen Label, exponential Island music and insular collaborations spilled out onto the world – so much more to come, blink it and you’ll miss!

Vacant World is the first studio album by Jacks.3[4] It was released on September 10, 1968. In 2007, Rolling Stone Japan placed it at number 13 on its list of the "100 Greatest Japanese Rock Albums of All Time". Rumored to be a big influence on High Rise, one of their tracks ("Marianne") was covered by Fushitsusha on Tokyo Flashback II. "Here's what is considered one of the best psychedelic records in the world and certainly one of the must-have Japanese rock albums. The Jacks managed to record a very unique album, very dark and introspective, an album full of tension and contained wrath that maintains its power by refusing to fully explode. You'll find fuzz guitars, tremolo, lots of reverb and the occasional use of flute and vibraphone

awless is 2012 crime drama film by director John Hillcoat (The Road, The Proposition) about a gang of bootleggers in Virginia during the Great Depression. And when we say star-studded, we really mean it: Guy Pierce, Gary Oldman, Tom Hardy and Shia LeBoeuf signed up for the gritty and evocative story about brothers who try to create their own American Dream during Prohibition.

None other than Nick Cave helped Hillcoat with the screenplay, while he also took great care of the movie’s soundtrack. Cave and fellow musician Warren Ellis form the core of The Bootleggers, a country and bluegrass ensemble that welcome a string of guests artist like Emmylou Harris, Ralph Stanley and Mark Lanegan. The Lawless OST contains cover versions of artists such as Velvet Underground and Captain Beefheart and also features original compositions by Cave/Ellis and the great Willie Nelson.

"Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original.
The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."

Blue Vinyl

Due to a mistake at the pressing plant, 100 extra copies of this record were pressed and are now available on a first come first served basis to a handful of retail outlets.

4 new classic Electro cuts from the Finnish duo, Morphology. The sound of the future, neatly processed and packaged on a storming 4 track 12" with original sleeve artwork from Ilpo Väisänen from legendary electronic music project Pan Sonic.

Blink and you'll miss these!