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'Faces In The Fire' von 1984 war das erste Album der englisch-niederländischen Rockband, die 1980 in London gegründet und 1984 nach Amsterdam umzog. Ein einzigartiger und experimenteller Mix aus Psychedelic-Rock, Industrial, Ambient und Synthpop mit sinnlichen Auschweifungen. Im Rahmen des 40-jährigen Jubiläums von PIAS, erscheint das Album nun wieder auf Vinyl!

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Mark Thomas Griffin, besser bekannt als MC 900 FT JESUS, ist amerikanischer Rapper aus Dallas, Texas. Griffin ist ein klassisch ausgebildeter Musiker und Trompeter und bekannt für seine Mischung aus Hip-Hop, Jazz und Elektronik, die in den 90er-Jahren ihrer Zeit weit voraus war. Seine Texte sind oft sozialkritisch geprägt, aber durchzogen von seinem bissigen und bisweilen schrulligen Humor.

Rising Wings wurde 2006 von Florian "Flo" Bauer als One-Man Melodic Rock Band gegründet. Florian Bauer spielt seit Jahren in verschiedenen Rockformationen, wie der AOR-Band Youringa und der Hardrock Band Saviors Cry. 2006 & 2008 erschienen die ersten EPs. Weitere Singles erschienen mit sehr positiven Feedback. Nun endlich das erste Full Lenght Album "Reach". Auf dem Album sind Florian Bauer an Gesang, Gitarre, Bass und Keyboards sowie Franz Raßhofer (Joe Leila), Falco Münch (Reload), Markus Herzinger (2nd East) und Bobby Santiago (Bloodwork) am Schlagzeug zu hören. Das Album wurde von Ray Balconis im Studio Ray Recording in Queens, New York, von Rolf Beyer und Peter Hillinger in den Klangwasserstudios Halsbach und von Chris Lausmann im MS Productions Studio in Poing, München, aufgenommen. Florian Bauer und Chris Lausmann (Bonfire, Voices Of Rock) haben das Album im MS Production Studio produziert und gemischt.

Das von Kritikern hochgelobte zweite Album von Beach House aus dem Jahr 2007 ist jetzt endlich wieder auf Vinyl erhältlich.

It’s long believed that dreams are a way for our subconscious and conscious selves to interact. A chance meeting between cognitive thought and the expanse of imagination. Our dreams are often half remembered upon waking, leaving bits and shards of the story left to be pieced together. That process of pulling together fragments feels infused within Austin’s Neckbolt, a band with a radiant understanding of pairing disparate elements together to create something magnificent. Introduced back in 2021 with Midwestern Drawl, their self-released debut album, the duo of James Roo and Benjamin Krause formed the project with a specific energy and an alien sound. At its core, that record laid the blueprint for the band, a forward thinking mix of caustic noise rock and vivid psychedelic pop, combining to create something wild yet ingenious, reshaping common genre ideals.

At some point between the recording and release of their debut, Neckbolt expanded, reverse engineering their sound to form a live band that could pull off the music of their recordings. The line-up grew from a duo to the quintet, with Roo (vocals) and Krause (guitar) joined by longtime friends and collaborators, Bill Indelicato (bass), Brent Hodge (drums), and Kilyn Massey (guitar), forming an instant chemistry apparent in their earliest of live shows. With members split between Austin and Oklahoma City, the band adapted their approach to songwriting, opting to record in bits and pieces as they wrote, bouncing ideas back and forth, watching songs take shape in ways that none of the members had intended, but all were quick to embrace. Neckbolt are a freaky band and their second album, Dream Dump, seizes the opportunity to dial up the strange in their own vibrant way.

The extraordinary trio creates a fascinating, atmospheric fusion of electronic sounds, piano, violin, percussion, field recordings, and mystical Ladino texts and chants with "Metamorfosa." Metamorfosa is a new band project founded by Marlene Schuen (Italy), Dimitri Andreas (Belgium), and Marc Romboy (Germany).

The arrangements, co-compositions, and production come from Marc Romboy and Dimitri Andreas (Music Man, Systematic). Marc Romboy has been releasing electronic music since 1991 and has performed worldwide in legendary clubs like Berghain, Rex Paris, Fabric London, and Womb Tokyo. Marlene Schuen's lyrics for Metamorfosa revolve around nature and stories of mythical creatures in the mountain world of South Tyrol, taking the listener into the world of her homeland.

Her impressive voice and singing style deeply touched and fascinated
Marc and Andreas from the very beginning, ultimately inspiring them to create this fusion of electronic sounds, atmospheric piano parts, violin, field recordings, percussion, and Ladino singing.

We proudly welcome DJ SOFA to the Bukva Sound camp. As 005 the Finnish wonder gal drops us an amazing EP.
DJ Sofa is a truly rising star within the jungle scene, with releases on iconic labels such as Future Retro London, Myor, AKO Beatz, N4, Straight Up Breakbeat, Ruff 'N Tuff.
Danger Management EP shows DJ Sofas production diversity, playfulness and her special feel for the craft that is Jungle.
Last but not least the legend that is Dwarde blesses us on a remix of the track Transmission. Enjoy!

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

Nur 1 Jahr nach ihrem erfolgreichen Album „Kreatura“ und einer ausverkauften ersten Headliner-Tour durch ganz Deutschland, sind MANNTRA mit ihrem neuen Album„War of the Heathens“ zurück!

Das epische neue Meisterwerk erscheint am 22.09.2023. Voller Energie, mit niederschmetternden Riffs und gewaltigen Melodien, die nicht aus dem Kopf gehen, sind MANNTRA zurück mit dem, was sie am besten können: einer einzigartigen Mischung aus Metal, Industrial und Folk.

Die vier kroatischen Musiker, die vom dämonischen Barren King unterstützt werden, vereinen die Energie und die Atmosphäre des Meeres der Adria und der Berge ihrer Heimat auf ihrem neuen Album. Lasst Euch entführen in die Welt der alten Legenden und Schlachten, die ganz Europa geprägt haben.

If youʼre a fan of Daptone Records, chances are youʼve read or heard the name Victor Axelrod, and even if you havenʼt, youʼve heard music from his hand. As a producer, arranger, recording and mixing engineer, and keyboardist, his creativity has extended across more than two decades of the labelʼs releases, even dating to its prehistory with Desco Records.

If You Ask Me To..., the first LP under his name for the label, is a collection of singles released between 2007-2023 as well as unreleased tracks from Sugar Minott and Binky Griptite. The genesis of which came via an 11th hour request from Daptone for a Sharon Jones remix (2007) that resulted in the reggae version of “How Long Do I Have To Wait For You?” found here.

This opened the door to additional explorations of reggae/soul synergies within the catalog, affirming the musical and cultural link between Daptoneʼs core soul sound and Axelrodʼs passion for Jamaican music. While previous projects like Ticklah Vs. Axelrod and Roots Combination (produced under the alias Ticklah) were inspired by the Jamaica of the 1970s and 80s, this set specifically channels an earlier period in the 1960s when Jamaica was both strikingly original in its continuum of genres but also closely and empathetically attuned to Black American music.

Through Axelrodʼs exceptional taste and the notable contributions of guitarist To

Vinyl was made in two versions - black and limited to 100 copies black&white vinyl. Both 180g.

The debut album from our specialist in bass sounds from Wrocław - TVB. AAfter many bootlegs and two acclaimed EPs (including official Sam Binga remix), the time has come for the official cross-genres long play, where, apart from solo tracks, there are many vocal guests - Mila, Bryndal, Cheeba, Krzaquu, Marceli Bober and JupiJej. An amazing mix of experienced MCs with a new generation of artists.

"The Very Bass" LP is a fresh club sound inspired by the British wave of bass music, which resulted in a mix of 2step, UK garage, dubstep and drum'n'bass.

Vinyl was made in two versions - black and limited to 100 copies black&white vinyl. Both 180g.

The debut album from our specialist in bass sounds from Wrocław - TVB. AAfter many bootlegs and two acclaimed EPs (including official Sam Binga remix), the time has come for the official cross-genres long play, where, apart from solo tracks, there are many vocal guests - Mila, Bryndal, Cheeba, Krzaquu, Marceli Bober and JupiJej. An amazing mix of experienced MCs with a new generation of artists.

"The Very Bass" LP is a fresh club sound inspired by the British wave of bass music, which resulted in a mix of 2step, UK garage, dubstep and drum'n'bass.

Originally released on Rocket Girl in 2000, Piano Magic’s third album proper heralded a seismic and surprising shift away from its more electronic predecessors, ‘Popular Mechanics’ and ‘Low Birth Weight.’ ‘Artists’ Rifles’ is Piano Magic’s first band-band album and marks their debut, actual recording studio appearance. Improvised on the spot and produced/recorded over just five days by John A. Rivers (Dead Can Dance, Felt), at his Woodbine St Studios in Leamington Spa, stylistically, the record could feasibly be described as the first (only?) baroque post-rock record, utilising as it does, consciously or otherwise, influences as broad as Bach and Codeine.
For ‘Artists’ Rifles’ the core of Glen Johnson (vocals/guitars/keyboards), John Cheves (guitars), Paul Tornbohm (bass) and Miguel Marin (drums/percussion) were augmented by guests Caroline Potter (vocals) and Adrienne Quartly (cello).
The success of ‘Artists’ Rifles,’ particularly in Spain, kickstarted a wealth of touring possibilities and over the next 16 years, the band toured all over Europe. It also caught the attention of 4AD Records, for whom they signed to the following year.
This 2023 vinyl re-pressing honours the original (Matt Dornan) sleeve design and beautiful photography of Royal Artillery Memorial (Hyde Park, London), by John Cheves of the band.
“Classic English folk music for the 21st century” – Record Collector
“Glen Johnson and cohorts explore a doomed English romanticism, boldly linking contemporary romantic mores with the lost generation of 1914 – 18…. strangely it works….” – The Wire
“Another endearingly odd record, drifting along the seawall between the macabre and melancholy. This is the work of 4AD obsessives who have learnt to love electronica.” - Q

Kool Keith has long been hailed as hip-hop’s greatest eccentric. Over the course of a career stretching back to the mid-’80s, he’s perfected a singular style of abstract yet deadly precise rhyming that often focuses on subjects such as science fiction, hardcore pornography, and a distrust for the music industry. His sprawling discography includes numerous collaborations and aliases, with some of the most acclaimed including Dr. Octagon and Dr. Dooom, Black Elvis & Tashan Dorrsett. He began his career as the mind and mouth behind the Bronx-based Ultramagnetic MC’s, whose influential debut, Critical Beatdown, was released in 1988. Following the release of the band’s third album in 1993, Keith headed for the outer reaches of the stratosphere with a variety of solo projects. His lyrical thematics remained as free-flowing as they ever were with the N.Y.C. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who “water down the sound that comes from the ghetto”. Keith’s latest LP “Mr. Controller” entirely produced by Junkaz Lou is yet another work of art. No MC on the planet is so grimy and yet so polished — after years in the rap game, Kool Keith’s as unique as ever. TRACKLIST

Medhane is a rapper and hip-hop artist known for his introspective and thought-provoking lyrics. Do the Math, his latest full length release, features production from underground mainstays such as Navy Blue, and Wiki. Released only 6 months after Amethyst of Morning, the LP explores some of the same topics on the previous release mode in depth and features input from some of the most enticing voices in underground hip hop today. It is also his longest project clocking in at 18 songs, and 48 minutes.

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

Germany’s progressive death metal masters OBSCURA complete their long-running, four-album conceptual circle with the release of Diluvium (defined as a great oceanic flood), their most evocative, diverse and vibrant release to date. Recorded with longtime producer V. Santura (Triptykon, Pestilence) at Woodshed Studios in Landshut, Germany, Diluvium is a stunning achievement for the illustrious quartet and a landmark release for progressive metal as a whole. Complete with all the band's signature elements plus groundbreaking polyrhythms, dramatic songwriting, and jaw-dropping virtuosity, OBSCURA raise the bar once again with an album that will go down in the annals of metal history as one of the most astonishing performances the genre has to offer.

Sweden's HUMANITY'S LAST BREATH have returned with their heaviest full length offering yet...'ASHEN'. Having long been regarded as the act that sets the bar on anything Down Tempo and Blackened, HLB remains one of the most influential bands to emerge from the 'post Meshuggah movement'. The Swedes have established a sound and dynamic that is truly their own, with multi instrumentalist Buster Odeholm cementing himself further as one of his generation's brightest trailblazers. Like a one way trip into the vortex of a black hole, the claustrophobia sinks in thick and fast with every song.

Engineered by Kurt Ballou at the band's longtime studio/practice spot God City, "No Heroes" shows the band exploring new sonic textures while still retaining the palpable energy they've become known for. While the album blazes out of the gate with the aptly titled "Heartache," songs like "Orphaned" and the intense "Plagues" prove that breakneck speed and heaviness aren't necessarily interrelated, and when Converge lower the tempo, they're able to effortlessly transcend traditional notions of heaviness. Devotees of "Jane Doe" will also be blown away by epic tracks like the nine-minute "Grim Heart/Black Rose," a doom masterpiece which features guest vocals from Only Living Witness' Jonah Jenkins. From Bannon's captivating artwork and introspective lyrics to Ballou's masterful production techniques, Converge's artistic vision has always separated the band from their peers, and "No Heroes" is no exception. Simply a great album.

2023 marks the 10 year Anniversary of Kyle Hall & Steven Julien's collaborative project "Funkinevil" on Wild Oats Music, now released as 2 LP on white vinyl.

Following the release of their recent collaborative LP “Crown” on Steven Juliens Apron Records, Funkinevil 2LP brings us back full circle to the origin of the enigmatic Detroit London Duo!

As a coming of age story, Jobi touches on themes of self- love, facing past traumas, overcoming insecurities including her queerness, and channeling inner strength to empower herself and others. This Americana/ country record is mastered by Grammy Award winning mastering engineer, Philip Shaw Bova, and has an exquisite balance of catchy, empowering, upbeat tunes and reflective, deeply sentimental ballads achieved through Jobi's poetic lyricism and her incredible vocal control.

Predominantly known as the musical genesis of eventual home 4 track folk pioneer Linda Smith, The Woods' organically experimental blend of folk style and pop sensibilities epitomize 80s NYC underground music

Included here is their lone 1985 single plus a full album's worth of previously unreleased recordings and a booklet filled with liner notes and ephemera

The kind of band whose members are fully immersed in their local scene-through a handful of notable side projects and the show- promoting Philly staple 4333 Collective- the quintet's sound takes wide- spectrum influence from its environment. The result is an amalgam of complex song structures and flourishes of technical acumen, wholly unconcerned with genre, yet evoking the specific styles of touchstones such as Paramore and Circa Survive.

On their debut longplayer Where the Heart Is, Sweet Pill's unbound, raucous energy presents through ten autobiographical tracks that hinge on singer Zayna Youssef's elastic, enrapturing voice- at times belting and controlled, at others textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead single "Blood" sees Youssef exploring a deteriorated friendship over Williams and McCall's trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling nimbly in the song's foundations.

Second single "High Hopes" counters with introspective, melodic punk that reshapes anxiety rather than succumb to it. But third single "Diamond Eyes" momentarily slows the pace, with McCall joining Youssef on vocals for a breakup lament laden with acoustic sentimentalism and an emotive flurry from guest flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where Sweet Pill's penchant for combining punkish tropes enlivened with the vibrance of math- rock and the aggression of post- hardcore sweetened with pop sensibility compound into something stylistically new yet still familiar.

Wide Mouth Mason, the iconic Canadian blues-rock band, are thrilled to announce their highly anticipated new album Late Night Walking - With an impressive discography spanning over two decades, the band has captured the hearts of fans across the nation and beyond

"We are Sex Swing, we don't have many riffs."
Sex Swing is a British experimental rock band formed in London in 2015

"Neural transmissions of crisis on the eve of WEB 3.0"

Net Prophet finds the band moving deeper into the vaporous territory of 21st century excess, where power casually corrupts absolutely and the mental netscape is more deranged in the membrane than we ever knew possible. A world on the edge, where imminent ecocide and violent social upheaval lurk beneath every minute mental distraction. The doomscroll gets longer and the attention span shorter as a disconnected global internet life takes over with its scepters of promise and looming evasiveness.

The sound is rich in variety from the darkwave pulsing synths of "Lichtenberg Monologue" reminiscent of Shape / Shifting's "Tomahawk" to the growling, slowdriving bass of "A New Dawn" which harks back to the bands S/ T 1st record, albeit with a synth instead of guitar. Even with the stark contrasts of murder-punk "AR-15" and jangle- pop "Purgatory Mall" the record never strays from the prime colors of the band: Vox, Drums, Bass, Guitar, Synth.

Recorded live in the Berlin studio Monoton, the record demonstrates the band in its prime - tightened up and influenced by their extensive touring, who have honed their sound from simple elements into a rich and tasty nugget, easily digestible for the modern consumer. Always true to their company slogan "tight, loose and evil".

As for the music: no sophomore slumping to be
found here. Back then Matador wrote, “With
impossibly huge hooks and an innate
understanding of every pop trick in the book, this
follow-up to 2000’s breakthrough ‘Mass Romantic’
is the most exciting pop record we’ve heard in a
long while.”

For once, tastemakers of the day shared the
label’s enthusiasm: “The New Pornographers mix
the pop purism of the Beach Boys, the power
charge of Cheap Trick and the gentle psychedelia
of Syd Barrett,” wrote the New York Times, who
labelled ‘Electric Version’ “Some of the best pop of
the year.”

Colours collects ParyNextDoor's 2014 EP Colours 1 - long heralded as a contemporary classic - with his critically acclaimed Colours 2. Both rank among the most memorable works in PND’s stellar catalog. The first volume showcases emotionally raw, true-to-life narratives and the range of his arresting vocals. Whether it's songs like "Girl From Oakland" or the Travis Scott-assisted "Jus Know," PND proves himself one of this generationís most gifted songwriters. He confirms as much with each subsequent record, including slow jams like "Freak In You" from Colours 2. Now that both EPs are side by side, listeners can trace PND’s artistic growth by revisiting these early classics, and for the very first time, fans can listen to this joint project on limited edition white vinyl!

The last decade has seen a seismic shift in how people buy and play music, vinyl has returned to being the dominant physical format with CDs consigned to second fiddle. Things were very different back in 2012 when we compiled and released the eponymous "Cool Runnings" on CD only. The vinyl revival is a belated opportunity to give the band their first long playing record to complement that earlier CD release. Together for a dozen years, Cool Runnings were one of Bristol's longest lasting bands gigging throughout the 1980s, though their failure to gig beyond the West Country meant they were also one of the City's best kept musical secrets. Originally formed in Weston-Super-Mare by Keyboardist Mark Tuck and Guitarist George Condover, they immediately relocated to Bristol and recruited various local musicians including an experienced and talented singer, Winston Minott. Although "Robin Hoods of The Ghetto" was their solitary release, the band regularly recorded material throughout their career and fortunately thanks to the foresight of George and Mark in holding onto various master tapes, Bristol Archive Records were able to release the band's self-titled debut album "Cool Runnings" in 2012. For this vinyl release we've selected eight tracks recorded between 1983 and 1985 at various local studios, and a solitary live track to give an idea of why the band were so popular in person. Although their music leans towards the more mellow end of the market, Lovers Rock, music ideally suited to Winston's soulful voice, the band were more than capable of writing good roots tunes including the excellent "We Must Go Home", "Children of Zion" and "Robin Hoods of The Ghetto". Winston Minott had spent many years touring all over Europe with soul band The Invaders and many songs showcase his vocal talent, but a particular highlight has to be "Playhouse" an alternative recording of which can be found on "The Bristol Reggae Explosion Volume 3". Perhaps proper management would have seen Cool Runnings achieve the success and wider exposure that their combined talents and unique take on reggae undoubtedly deserved. Now thirty years after the members went their separate ways, Bristol Archive Records are pleased to finally release the vinyl album that if things had worked out differently should have appeared in the 1980s

Portland-based Kevin Palmer returns to blundar with his Best Available Technology for another release (having previously been featured on cassette). This time it’s on vinyl but still messing about with the same business of constructing and deconstructing head-nodding beats into a foggy bowl of ambience that has become the trademark sound of BAT.

Initially inspired and influenced by the sound-worlds created by Hank Shocklee, BDP and KDAY, Palmer spent his formative years combing pawn shops for samplers. This kicked off his self-described obsessive compulsive work crunching out impossibly naive and obviously unschooled jams in what might have been and continues to be an attempt to capture and document something he felt when listening to the bombastic sonic collages of early hip hop.

Going backwards in order to go forward could be an apt mantra to describe the philosophy behind BAT. Often attached with labels like nostalgia and melancholy, Palmer surely deals with the longing for that perfect time capsule of N.Y. hip hop in the 90s - but where others zoning in on that era simply imitate it, Palmer goes way further into a world of his own making.

Far removed in both time and place to the outskirts of Portland, the sonics of Palmer filters through an outsider’s perspective, sometimes offering a personal journal of the here and now via field recordings from skateparks and surfing trips.

As if one would imagine looking slightly to the left of what was supposedly going on, these tracks continuously shift one's focus. That funky feel good beat is there, but almost always just out of grasp. Palmer gives us the sound of a memory slipping away.

Yet this reads not as the end of something, but rather a stepping stone into a world of possibilities. Operating at the outskirts of genre, you could imagine anything from dub, hip hop, ambient or techno to emerge and crystalize from the haze, yet it never does. This is all those things and nothing. Or maybe it’s just some “sad fucked up funk” as Palmer puts it.

Hive Mind and Sing A Song Fighter are delighted to present to you their first collaborative release, the amazing solo guitar album from legendary Congolese guitarist Kahanga Dekula aka ”Vumbi”.

Swedish producer Karl-Jonas Winqvist (founder of Sing-A-Song Fighter and member of Senegalese/Swedish act Wau Wau Collectif) has been a longtime fan of Vumbi Dekula’s artistry which led to him releasing The Dekula Band's debut album ”Opika” in 2019 with the Dekula Band.

While watching the band perform was always a blast, says Karl Jonas, his desire to hear Vumbi play on his own, without the thunderous drums, wailing saxophones and chanting vocals grew in his mind, “Because, in a way, Vumbi’s guitar playing is like an orchestra on its own. And the idea of just concentrating on all the amazing riffs and beautiful, uplifting melodies was just so appealing”. Karl-Jonas proposed the idea of producing a solo album to Vumbi, and within a week the production process began

Recorded in two days during lockdown at the Helter Skelter Studios in Stockholm, Karl and Vumbi allowed the music to guide them. Vumbi was inspired to play 2nd guitar adding some harmonies and melodies here and there, and on the final track (”UN Forces Get Out of the DR of Congo”) he introduced a banjo into the world of ”Congo guitar”. Karl Jonas started up his old rhythm box machine to some of the songs to see how Vumbi and his playing would react to it. Elsewhere, wordless backing vocals from Karl-Jonas and Emma Nordenstam were added to Maamajacy, bass melodica by Karl-Jonas appears on Weekend, and a little piano tinkering from Emma adds some sparkle to Zuku. But clearly, Vumbi's virtuoso playing remains the star of Congo Guitar.'

Rising up from the dark depths of the underworld, Toni Moralez presents his latest project, Echoes From The Grave, via Mutual Pleasure Records.

A four-track serving of truly devilish sounds, Echoes From The Grave brings the listener deep into the world of Toni Moralez; a world of high-flying dance floor deviousness. Within the EP, the Frankfurt based producer coordinates a masterful balance between sinister and groovy, with daring blends of funk-infused basslines, pulsating drum patterns and synths, resulting in an unmistakably mischievous sound.

From the infectiously old-skool nature of DON’T B SHY (TURN AROUND), to the equally infectious hypnosis of I WANNA SUCK UR DICK (LONG N HARD), to the bassline mastery of TAKE OFF UR CLOTHES, which is then propelled into total misbehaviour with (Partiboi69’s Cheek Spreading Rework), which features a contagiously brazen verse from YBM.

Exceeding and succeeding in utmost rebellion, Toni Moralez’s Echoes From The Grave EP is a uniquely daring project, full of devilish personality and character, and one that sees its creator reach newfound heights with his sound; a sound that continues to evolve and develop rapidly.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.

Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«.

»Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another.

Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.

Gudu Records is proud to welcome Special Request - aka Paul Woolford - for his first release for the label, a collaboration with constantly innovating London MC Novelist.

Pairing Novelist’s unmistakable cadence and flow with classic grime square-waves and booty house-esque drums, ‘Sliver’ has been a highlight of both Special Request and label boss Peggy Gou’s recent sets, climaxing in a tempo change designed to turn the dancefloor inside out. As potent in intimate dark rooms as it is festival main stages, you’ll be hearing this one all Summer and beyond.

East Village series is back with a 4 organic disco edits without filter. Pure disco that is filled with the nostalgia of distant memories.

No action needed, just put in you bag and play it for all night long!

rotes Vinyl,
Zum 40. Jubiläum von Bonnie Tylers Kultalbum "Faster Than The Speed of Night" erscheint der Longplayer auf rotem Vinyl. Inklusive der Hits "Total Eclipse of The Heart", "Have You Ever Seen The Rain", "Faster Than The Speed of Night" und "Straight From The Heart".

Foundation Music Productions take two of the standout tracks from Lady Blackbird’s critically acclaimed debut album ‘Black Acid Soul’ and enlist the expertise of some of Jazz’s finest talents, Greg Foat and Emma-Jean Thackray, to step up and remix these absorbing cuts.

On the A side, the much-revered London based, jazz and electronic composer/producer Emma-Jean Thackray delivers a downtempo and entrancing remix of ‘Blackbird’, flexing the jazz elements of the original into a smooth and encapsulating mix that's primed to lose yourself in.

Head to the B to find Greg Foat’s irresistibly smooth production touch with his remix of ‘Collage’, layering floaty percussion, dreamy organ chords and delicate guitars to create a sun-kissed, laid back vibe that shines a light on the scintillating vocals.

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.