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This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer

Kallaikoi is the term used to refer to all the Celtic clans settled in ancient Gallaecia (northwest of the Iberian Peninsula). They were skilled in metallurgy and the production of tools and weapons, and worshiped a variety of deities, some of them related to nature
and war. Although they disappeared as an ethnic group in antiquity due to Romanization and subsequent consequences, their cultural legacy and Celtic influence in Galicia persist until today. Somehow, that ancestral legacy lingers between the grooves of this
release you have in your hands.

The double EP opens with The Transhumans: Techno, syncopated bass drums and industrial nuances appear in 'Ánima'. Ian Axide proposes robust and percussive Techno in 'Antro', while Obseth lets arpeggios fly in 'Pink Pills'. These tracks are indebted to that
Techno reminiscent of the late 90s golden years monolithic sound.
Side B opens with the local heroine and co-founder of Archaic, Proyecto Inopia, who opts for resounding rhythms and synth sequences sharp like shark teeth, seemingly paying homage to earlier decades in 'Hécate'. Mist Gasp also follows a metallic monotrax line in 'Standarte'. And the first 12” closes with Brai’s '75', where he unleashes Techno meets New and Synth Wave with a nod to the 80s.

The second EP lowers the intensity and tempo, opening with the calm and nostalgic Electro from Synth Alien in 'Pakhum'. Local artist Lefrenk raises the tempo and intensity in arpeggios in a propulsive Electro-Techno wave in 'Fenix'. And also from A Coruña, Roi controls the beats in an electro base that advances later towards obsessive and lacerating synths in 'Melusa'.

The last side of the double album is opened by David Karro with 'Ionosphere', a track with unsettling synths that doesn't need beats to shape its hypnotic and nebulous character. 27 003 delves into the sounds of classic Electro drum machines in 'Sweet', also with clear IDM and dreamy evocations. Corrosivo continues in that vein, with marked Sheffieldier echoes in 'Fast Food'. The EP is closed by Death Whistle with one of his usual opuses where darkness, beauty and epic coexist.

Felipe Gordon is a Colombian producer based in Bogota. He’s one of the most famous faces of latin american underground house music. He built a track record of pure house productions from the mid-2010s up until now, being Laurent Garnier-supported and releasing records with the most notorious house labels around the globe (Royal Oak, Razor-N-Tape, Toy Tonics, Local Talk, Shall Not Fade, etc.) His unique sonic touch, intertwining elements of raw analogue sounds from his synth collection and a strong hip-hop sampling background are allowing him to explore and revisit his influences to craft a solid musical signature.

Repress!

In the last few years we’ve seen French DJ and producer Laroye delivering the goods time after time on respected labels such as Atjazz Recordings, Compost, Makin Moves and Foliage. His latest LP just released on Local Talk has been getting big support picking up plays on Radio 1, 6Music, Worldwide FM as well as spins from Natasha Diggs, Gilles Peterson, Craig Charles, Louie Vega, Honey Dijon to name a few. Freerange is proud to welcome him back for the follow up to 2020’s release Be The Change, presenting you with a killer 4 track EP entitled Uku Dance.

Leading the charge, Laroye is joined by influential Detroit artist, DJ, producer and vocalist Javonntte who has written and recorded a brilliant vocal for a track entitled First Sight. Laroye’s fat beats, jazzy chords and soulful touch make the perfect production for Javonntte’s vocals.

Up next we have the Percussive Dub mix of Uku Dance in which Laroye strips things back to the bare bones making for a serious percussion tool work out to spice up your sets.

On Uku Dance a bass-heavy groove is punctuated with vocal chops and deep Rhodes part which adds a moody, late night touch. Just the kind of soulful, dubby, afro track that will get the house dancers throwing down like their lives depended on it!

Closing out the release you’ll find an instrumental version of First Sight.

Philly local talents at the crossing of the 6’s and 7’s, they were initially known as The Twilights. At the time they only recorded 3 songs

for demo purposes. Although all musicians were featured on many productions from Manny Campbell’s stables, The NuRons’ All Of My Life and I'm A Loner being a couple of them. During the mid 1970's The Delights did go on to record and release a few 45's for the Phil-L.A Of Soul Label. Like the previous release in the Unsung Heroes program, these masters are phisically preserved at University of Philadelphia.

Only 200 copies of black 180g vinyl was made.

"Macrodose" is an album recorded in the classic form of Producer & MC, (Antiquant and Prykson Fisk). JuNouMi Records (est. 2002) gives this hip-hop project the highest mark of quality. Real underground rap album including many guests such as Axel Holy and King Kashmere from UK.

Prykson writes about the album as follows: Macrodose is a lyrical "trip report" with a perfect musical accompaniment, a diary of a total life transformation inspired by the power of medicine contained in entheogens.

To emphasize the urban character of the project, we asked the well-known street artist TYBER to create the graphic design of the album, which is ultimately based on a dedicated mural painted in September in Gdańsk.

Mr. Aleksander aka Prykson Fisk aka Fred Flin100NER is 170 kg of live hip-hop. Beat-boxer, MC and DJ, associated with Hip-Hop culture since 2003. Prykson is an experienced psychonaut and owner of the KOMORA REC home studio. Creator and author of over 20 albums and mixtapes. His official debut K02M02 (2020) landed in the respectable 7th place of OLiS... Representative of the MOST BLUNTED team, KOLOKOS - one of the creators and founder of such projects as: Renegaci Funku, Hedora, Prykson Ifs and Dusty Vibez. He played beats in every genre, from dubstep, grime, drum and bass, through rap, to jazz and funk played live with a band. He has conducted countless workshops in the field of hip hop (beat-box, rap) throughout Poland... A fan of good food, underground music, multidimensional visual art and conspiracy theories. An experienced gourmand of life and a well-known local healer.

Antiquant - 24-year-old producer from Zielona Góra. He has collaborated with artists such as Ryfa Ri, Mada, Asthma, Mareceli Bober. With his beats, he tries to drown the listener in an ocean of cosmic sounds. The axis of its production is the artistic achievements of producers such as flying lotus, monte booker and j dilla. In his songs, he does not limit himself to one style, his beats are often a patchwork of various genres of music. In his productions you can hear boom bap drums, trap eight hundred eighth notes and jazz trumpets coexisting in the strangest musical ecosystems. Antiquant appreciates experiments, loves to push his boundaries, look for undiscovered sounds and use effects in ways they shouldn't be used.

As soon as Spike discovered punk, he wasted no time forming Reptile Ranch (Wales’ own Scritti Politti), starting a label (Z Block), and releasing the compilation of the Cardiff scene, Is The War Over? After an act dropped out of the cooperatively-funded venture, Spike approached the disbanded Young Marble Giants to contribute a track or two. Bemused, they agreed to reform, and it wasn’t long before Rough Trade rang the public phone listed on the back cover of the LP to poach the combo, leading to an album which hit immediately and has inspired hundreds of artists since. All the while, Spike worked with Debbie Pritchard in a number of unheard bands - but that’s another tale. After YMG’s breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG’s, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison’s second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo’s debut, Tidal Blues and other releases followed, but as real life, jobs, and children beckoned, both Alison and Spike stepped away from music . . for more than twenty years. Their return is both unexpected. Bimini Twist is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison’s still wondrous voice - everything was recorded in their homes, much of it ‘live’, and these new songs show the duo’s charm and diversity, featuring Alison’s most personal lyrics and Spike’s peculiar musical genius

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Directly from Brazil, Data Assault steps up to deliver a fast paced 5 track EP, featuring a remix from the outstanding Martinelli. The artist has a solid career of sonic experimentations that are fueled by a radical stance, with productions that inevitably find their way into clubs and sound systems all around the globe. Besides producing his own parties that have been making waves in the local scene in Brasilia.

"Dor e Miseria" is inspired by the Brazilian socio-political disaster which occured from 2018 to 2022, bringing beats treated with lots of compression and distortion, accompanied with aggressive vocal chops and melancholic pads. His fierce production style is joined by Martinelli, who's remix completes the picture and makes an interpretation that delivers everything with a simple approach, combining 808 drums, funky basslines and an impeccable percussive movement.

"Movida Pelo Odio" e "Euforia Sinistra" discharge influences from the dirtiest beats of Grime and 8-Bar Techno, with aggressive synths interspersed by acidic elements that dominate the sonic image of the EP. The last track "Furia Funk" closes with heavily compressed and saturated 909 drums, and 303 acid lines screaming loudly.

Indonesian trio Grrrl Gang builds on their considerable worldwide buzz with Spunky!, their full-length debut album. Released on 22 September 2023 by Green Island Music in partnership with exclusive licensees Kill Rock Stars (United States), Trapped Animal Records (United Kingdom) and Big Romantic Records (Japan and Taiwan), the album is preceded by its title track and first single dropped on May 30, featured from the same title of the album, 'Spunky!' Spunky! arrives following some major life changes for Angeeta Sentana (vocals, guitar), Akbar Rumandung (bass, vocals), and Edo Alventa (guitar, vocals), including a switch in locale from Yogyakarta, the city where they formed the band while still in college. “This is Grrrl Gang’s first release after we graduated and got day jobs that made us have to move to Jakarta, which is undeniably 180 degrees compared to Jogja,” says Rumandung. “But moving to Jakarta enabled us to work with Lafa on Spunky! from start to finish.” The song itself essentially describes Sentana's experience during a manic episode. “I feel like I’m on top of the world, untouchable. I do things without thinking, always chasing after that feeling of instant gratification. I feel extra confident in myself to a point of grandiose thinking and that I could do anything,” Sentana explains. That would be Lafa Pratomo, the in-demand producer brought in to help shape the ten tracks that make up Spunky! With a resume that includes the likes of the chanteuse Danilla and legendary singer-songwriter Iwan Fals, Pratomo might not seem the obvious choice to take the Grrrl Gang producer’s chair. But according to Rumandung, “In terms of production, this was something new for us by working with someone outside of Grrrl Gang’s comfort zone.” Indeed, Pratomo considerably beefs up Grrrl Gang’s sound particularly Alventa’s guitar tones, Rumandung’s rumbling bass, and touring drummer Muhammad Faiz Abdurrahman’s muscular beats while preserving the band’s signature raucous energy, catchy melodies, and Sentana’s attitude-filled, equal-parts-honey-and-vinegar vocals. The music video for Spunky! premieres on the Grrrl Gang YouTube channel on the same day as the release of the song. The video, directed by Bathroom Girls, is part of a continuous movie, with Spunky! being the second chapter. It tells the story of an introverted girl who goes to a house party to validate herself among her peers. Despite facing challenges to her self-esteem, she manages to overcome her discomfort to survive the night. During the party, she watches Grrrl Gang perform Spunky! and is mesmerized by the confident performance of Angee, the lead singer. The girl imagines herself as Angee, a confident and cool person that she will never be. Hailing from the cultural city of Yogyakarta, Indonesia, Grrrl Gang is a rising force in the independent music scene with their infectious melodies, anthemic songs, and electrifying live performances. The power trio, composed of Angee Sentana on guitar and vocals, Akbar Rumandung on bass, and Edo Alventa on guitar, has been making waves in the Southeast Asian music scene since their formation in 2016. Grrrl Gang's music is a celebration of their collective roots and a testament to the power of pop music to connect people across cultures and borders. Their lyrics touch on themes such as feminism, mental health, and relationships with a raw honesty that speaks to a generation of young listeners. With their infectious energy, socially conscious lyrics, and unique sound, Grrrl Gang is poised to take the global music scene by storm and become a voice for a new generation

A bittersweet nostalgia lies at the heart of 'Imaginary People', the new
album from indie roots duo Viv & Riley
Over ten tracks, the pair applies an indie folk sheen to newly composed pop
gems, a reworking of an ancient ballad, and even an original fiddle tune, deftly
weaving together the old and new. In contrast to the sunny, lush production from
Alex Bingham of Hiss Golden Messenger, the lyrics lean melancholic. "Kygers Hill"
and "Sauvie Island" are both wistful odes to locales where these two young
master musicians spent formative years developing a penchant for songwriting.
"Is It All Over'' lampoons the futility of the billionaire space race through a darkly
comedic vision of a future music industry, while the title track expounds on the
"imaginary" versions of our idealized selves. Viv & Riley fittingly end the album
with a droning take on the traditional Ozark tale "The Blackest Crow." Both
musicians trace their original artistic inspiration to the deep roots music they
learned in their youths on opposite sides of the country. The duo's continuing
musical expansion is in part the fruition of their investment in the music scene of
their new home of Durham, NC which is known for its cross-genre collaboration
and creatively articulated roots music. However, the tracklist is still peppered with
pedal steel and the rootsy fiddle and banjo trappings the pair employed to
acclaim on their previous two releases. As much as 'Imaginary People' looks back
to nostalgic yesteryears, it importantly marks the beginning of a new direction for
these songwriting virtuosos

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

- Panda Bear, Voice of the Seven Woods, Mammane Sanni Abdoulaye. File under: Jazz / Electronic. Titi Bakorta almost didn't make it. Born in and raised in Kinshasa, the Congolese multi-instrumentalist was on his way to Uganda when he fell off the boat as it traversed the mighty Congo River. Unable to swim, Bakorta was saved by a friend who dragged him to the closest city Kisangani, where he was unexpectedly acquainted with local singer Dancer Papalas. Soon they were performing in bands together, traveling across the continents and settling in Tanzania, South Sudan and Dubai - they even appeared in front of General Defao, the beloved Congolese vocalist who fronted legendary soukous bands Grand Zaiko Wawa, Choc Stars and Big Stars. Now based in Kampala, Bakorta offers his own unique take on Congolese pop and folk sounds, weaving traditional elements through a psychedelic lattice of guitar loops, mangled voices and eccentric beatbox rhythms on his debut full-length. He bends woodblock snaps on 'Kop' into stuttered blurs, wailing emotionally over twanging riffs and bizarre, theatrical xylophone twinkles. It's still pop music on some level, but curved around Bakorta's unwieldy personal narrative - there's a sense that everything could unravel at any time but it all hangs together, strengthened by Bakorta's confident, contemporary production smarts. 'Elles Vais' is more airy, with celestial soukous vocals that float above tight, electronic drums. Tangled guitar echoes overlap each other like dense, weaved tapestries, contrasting perfectly with Bakorta's urgent, driving pulse. Occasionally, he transcends completely, like on 'Molende' where his chants and phrases neatly flutter between praise music and contemporary R&B. "Hustling, hustling, hustling, everyday I'm hustling," an angelic voice coos over phased electric guitar plucks and looped, AutoTuned chorals. It makes perfect sense that Bakorta should team up with Metal Preyers' Jesse Hackett on the album's final track, the aptly-titled 'Titis Haunted House'. The two artists share a similar obsession with moonlit, carnivalesque soundscapes, and Hackett's eerie synths provide a suitably eccentric foundation for Bakorta's ghostly wails and fuzzy guitar sounds.

After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster I Roy.

The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie’s greatest productions, including ‘Lorna’s Dance,’ a percussion and horns take of ‘Caught You In A Lie’, and a strings cut of the Heptones’ ‘Love Without Feeling.’

Heels & Souls Recordings step back to 1988 for their sixth reissue, relicensing and remastering Flair's anthemic soul number 'Chasin' The Rain.' For the uninitiated, strap yourself in for six blissful minutes of heavy bass licks, soaring vocals, and infectious synth lines.

Consisting of Janet Rose (aka UK Soul queen JB Rose), Joe Matz, Peter Bielig, and Peter Shindler, Flair was a predominantly German affair, with Rose being the only UK band member and Bieling living in London during the late '80s. This is a curious detail considering 'Chasin' The Rain' is often lauded today as a UK Soul classic - partially due to its release on the prolific UK label Champion. However, it's squeaky-clean production values, and the fact it was mixed and mastered at the famous Jankowski studio in Stuttgart by three Germans, reveals a somewhat different story.

The track has that UK street soul heavy low-end, but with a synth-pop flavour sprinkled in the mix - swinging synth lines and gated snares aplenty. Yet from chatting to Peter Bielig, who's been instrumental in getting this record reissued, the sounds sweeping across the Atlantic from the likes of Jam and Lewis, who blended R&B, funk, soul and pop, were clearly a big influence too.

Those were heady days for four young twenty-something musicians, with Peter recalling cherished memories these tracks bring back, telling of his and JB's PA sessions at London's Gulliver's nightclub. However, while 'Chasin' The Rain' had all the hallmarks of a chart-breaking hit, Champion prioritised other projects and the record never broke. Sadly the group disbanded after only two releases, and this musical gem was consigned to the crates of those in the know. Soon after, Peter Bielig went to Jamaica to work at Tough Gong Studios, working on albums for Rita Marley Music. He now lives in Brazil, producing local artists in his studio in Salvador.

Unfortunately, the master tapes were nowhere to be found, so we had the maestro, Sean P, rip and restore a mint copy of the record, with award-winning mastering engineer Cicely Balston working her studio magic for that added punch.

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

"Bills past due, what you gon do?"

2lanes is part of the latest resurgence in Detroit's techno underground whose infamy is built via amorphous live appearances / DJ sets, collaborations with contemporaries like AceMo and John F.M., and a steady, hilarious and blunt presence on Twitter. PGS is proud to present 2lane’s 2nd piece of wax, the AA side "Baby's Born To Fish'' / "Impish Desires'' following the "Giving & Receiving" EP on NYC's Ceramic Records, February 2020.

2 Lanes first appeared in Detroit ~six years ago and quickly made a name for himself in the local scene, promoting shows with international artists and friends from NYC, all while making an effort to respect the city's unique musical identity and history. He carries the tradition of Detroit's electronic pioneers who pursued new ideas in production and gear, bringing perfection to the craft, and developing unique twists in his process.

Participating in the contemporary electronic music world required splitting your time between 2 places at once: Online, always-on, in constant engagement with friends + foe alike; In Real Life, physically traveling city to city, DJing and collaborating, all while maintaining a sense of self. And now, all that's different.

"Lately, I've been, going, going through some changes"

Releasing a club-ready 12" in the midst of a global pandemic? That's the 2 Lanes. We heard an earlier version of "Baby's Born 2 Fish" what feels like 10 years ago, rinsing "Impish Desires" when there were still gigs. Do you remember the Apollo Masters plant fire in early February? How long were pressing plants closed, again? How long have we been living in this new reality? 2lanes hopes that the messages of this music; fear, isolation, friendship, love and how we exist at this intersection comes through for the listener.

"Baby's Born To Fish" / "Impish Desires" is a heavy hitting AA side, rejuvenating, explosive, off your face. They're ready for the eventual return 2 the dance floor, and sooner for your streaming DJ set. We don't know when we can see you IRL, but we know it'll be in mixes for decades to come.

"You’re gonna cast your reel out and you don’t know if you’re gonna get a fish that day, but you’re still gonna cast it out." - 2 Lanes

Hailing from the seaside communities surrounding Enoshima, a small island located 50 km southwest of Tokyo, Maya Ongaku is a ragtag collective of local musicians whose brand of earthy psychedelia transcends widely beyond the roots of their inner souls. The name derives not from any kind of ancient civilization, but rather a neologism defined as the imagined view outside one’s field of vision. The band—currently a trio of Tsutomu Sonoda, Ryota Takano, and Shoei Ikeda—finds sanctuary at the Ace General Store, a beachy vintage shop and salon-like space just hidden from sight from the bustling, touristy riverside Subana Street. Between discussions on music and art, curating the vinyl section and manning the register, and chatting up with locals young and old, the members find time to jam and record their spontaneous ideas in the studio tucked away in the back. It’s in this unlikely setting where Maya Ongaku finds its origins, the culmination of what Sonoda describes as 自然発生 (shizen hassei), meaning spontaneous generation, or the supposed production of living organisms from nonliving matter.

Approach to Anima, the group’s debut album released on Guruguru Brain, finds Maya Ongaku building a foundational groove while tapping into their innermost psyche. Sonoda’s malleable guitar and vocals, Takano’s sinuous bass lines, Ikeda’s floating woodwinds, and a sprinkling of delicate percussion—all coalesce into an aural experience that’s assertive yet abstract, calm but unsettling. The slow building, sax-laden “Approach” serves as an introduction to Maya Ongaku’s world, while the appropriately-named “Water Dream” floats its way toward the gentle finale of “Pillow Song.” It’s a concise distillation of their many interests and influences, from Neo-Dada and Fluxus, to where contemporary art intersects with the development of modern recording technology in the ‘60s and ‘70s.

As the title suggests, Approach to Anima is not intended to be a terminus; it’s merely the beginning of an exploration. The three childhood friends that comprise Maya Ongaku are always looking beyond the confines of the idyllic but rapidly gentrifying enclave of their beloved Enoshima. Feeding off of the energy that still radiates from the triumphant, decade-long journey of their label bosses’ band Kikagaku Moyo, who rose to global prominence from scrappy beginnings busking on the streets of Takadanobaba, they hope to go wherever inspiration takes them, to anywhere around the globe where their music can find a home.

Ultimately, Maya Ongaku’s uninhibited world-building will make it possible for us to see the unseen, expand the possibilities of the naked eye—all through the unbridled vibrancy of their music.

Four years on from his explorative third full-length ‘Aquamarine,’ Londoner Ash Walker returns with an equally ambitious follow-up, set for release via Night Time Stories on 30th June. Alongside a plethora of award-winning collaborators and combining a dizzy- ing array of sounds, ‘Astronaut’ hears Walker push his astral shower of rhythm and vibes to new heights. If 'Aquamarine’ was the take-off of his audial spaceship, ‘Astronaut’ is the cosmic voyage reaching terminal velocity; a rocket-powered masterclass spanning jazz, blues, soul, funk, and reggae.
An avid record collector, Walker has DJed far and wide... from the infamous Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA. His own production output is similarly explor- atory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists includ- ing Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts and Gideon Coe.

Long out-of-print release available digitally for the first time. Extensive notes by a local writer in English and French. Previously unpublished family photos. Urbanized traditional music at a dance-floor-friendly tempo. The very definition of an "Awesome Tape From Africa". Roger Bekono made a deep mark in the contemporary history of Cameroonian music through the four-on-the-floor, ribald intensity of bikutsi. The Ewondo-language dance-pop style that forms an undulating tapestry of interlocking triplet rhythmic interplay came to international prominence in the European "world music" scene as the 90s began. But the relentless sound of bikutsi developed in Yaoundé at the hands of Bekono and many others, as it developed from a village-based singing style performed mostly by women into a cosmopolitan music force that rivaled the popularity of established musics like Congolese rhumba, merengue and makossa. With his unique—some say suave—voice, Bekono contributed much over a period of more than 10 years as part of the evolution of this traditional rhythm-turned-urban dance movement. Bekono worked with legendary producer Mystic Jim, who had built a prolific home studio along with a crack team of musicians. They joined as part of the production of his self-titled album, which became known locally as "Jolie Poupée," the name of the album's lead single and most popular song. For "Jolie Poupée" Mystic Jim programmed the kick or bass drum, adding effects to have a heavier bass. Overall the album represented a new level of finesse and professionalism for his second release. In the middle of 1989, Jolie Poupée was released by the label Inter Diffusion System and aggressively hit the radio, discos and national television. The music video for the title track was on loop on TV. It felt like everyone was talking about it, even artists in adjacent music scenes like makossa. The album came out on vinyl and cassette and remains Bekono's best-selling recording to this day. With Jolie Poupée Bekono finally made an impact outside Cameroon as the record captured listeners in some Central African countries like Equatorial Guinea, Gabon, Republic of Congo and Sao Tome & Principe. In these countries, we find the Fang or Mfan people (also known as Ekang), Bantu-speaking ethnic groups that are also found in Cameroon. This umbrella language group includes the language in which bikutsi is mainly sung. Most of Bekono's songs are in French, Ewondo (of which Beti is a dialect) and Pidgin. The four songs on Jolie Poupée are all considered bikutsi classics. On September 15, 2016, Bekono died of a long illness at the age of 62. In the wake of his passing the media published a wave of tributes, thanking him for what he did for Cameroonian music. He was an admired musician, songwriter and guitarist, and some of his old colleagues and some of the new generation of performers showered Bekono with vibrant tributes via social media, many of which noting something to the effect of: "The artist dies but his works remain."

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

While the hook line for this new local trio would have to be that bassist/leader Brenda Sauter used to be a member of the later-'80s incarnation of the famous Feelies (and it's notable offshoot, The Trypes), even if you didn't worship at the altar of that group (and especially if you did!), Wild Carnation is a revelation. While
the persistent, pumping beat and hard-played jangle guitars of most of the tracks here emanate from her previous band and from their forerunners, the Velvets (especially), Television,and the Byrds - Sauter's beguiling voice is perfect for the ultra-appealing pop hooks the group writes as well as the thoughtful lyrics she composes.

Way back in the 1990s, a young Delmore stumbled into now defunct NYC nightclub Wetlands (during the sadly also now defunct, NYU Independent Music Festival), just as WILD CARNATION were about to begin their set.

Having lived in NYC / Brooklyn / Hoboken the previous decade, where countless mesmerizing gigs by THE FEELIES, YUNG WU, TRYPES, and SPEED THE PLOUGH had been experienced, it was the chance to see Brenda Sauter fronting her new group that drew Delmore in. A few songs into their set, it was apparent, however, that this trio was more than a Feelies offshoot project, despite melodic similarities, and Brenda's cool vocals / presence.

WILD CARNATION played raw, loud and fast (and occasionally out of control), with Richard Barnes distorted, jangly guitar lines perfectly colliding with Brenda's propelling bass notes, while Chris O'Donovan
kept it together, while pounding the living hell out of his drums. It was a garagey, indie rock mess, more reminiscent of Hib-Tone / Chronic Town era REM, and emergent New Zealand bands like The Bats and The Clean, than The Feelies.

Delmore was smitten, and determined to sign them, despite the fact that the Delmore label did not yet exist.
In 1993, Wild Carnation's debut 7", "Dodger Blue" b/w "The Lights Are On (But No One's Home)", taken from raw home demos recorded the previous year, became the second Delmore release. A full length album was then commissioned, and an evolving Wild Carnation holed up at Mix-O-Lydian recording studios with engineer Don Sternecker (The Feelies, Speed The Plough, Wake Ooloo) to record their debut full length, Tricycle, released in 1994.

On Tricycle, the pastoral quality of their most beautiful ballads was captured perfectly, while retaining enough of the rawness of the live experience. Waves of critical acclaim followed, from now defunct publications (CMJ Jackpot! Raygun, Trouser Press) followed, including this one by Jack Rabid of The Big Takeover, written for All Music Guide:
"While the hook line for this new local trio would have to be that bassist/leader Brenda Sauter used to be a member of the later-'80s incarnation of the famous Feelies (and it's notable offshoot, The Trypes), even if you didn't worship at the altar of that group (and especially if you did!), Wild Carnation is a revelation. While the persistent, pumping beat and hard-played jangle guitars of most of the tracks here emanate from her previous band and from their forerunners, the Velvets (especially), Television,and the Byrds - Sauter's beguiling voice is perfect for the ultra-appealing pop hooks the group writes as well as the thoughtful lyrics she composes.

Trading the occasional Feelies drone for sugar-sweet melodies (yes!) and utilizing the pretty ring of the guitars to maximum effect, songs such as Wings are the perfect pop confectionery, too honeyed and
delightful to miss capturing your bending heart and too consistently insistent and edgy to be wimpy, kind of like Reckoning-era R.E.M. It's all so well captured with pristine production, with balls to match the heart, too!

And though the 12 tracks are largely cut from a similar mode, all seem special just the same on their own.
A truly shining, first-rate effort, along with Lotion's and Nyack's early EPs and the last Flower LP, the best release to come out of a New York group this decade, and exceptionally crafted at that! Do not miss."

The HAVEN white label series is back after a year's break with the fifth instalment of the infamous Sardonic Tonality compilation series - this time with three newcomers to the imprint and one existing label artist visiting the series for the first time.

The A1 kicks off the record with Otautahi (Christchurch) local techno legend Keanu Raves - a regular DJ at HAVEN events in their hometown. Booming kicks, rolling percussion, and emotive synth work come together in this perfect dance-floor killer that's already been making the rounds at Aotearoa warehouse raves and outdoor parties. Following up is Valerie Ace on the A2 with a tripped-out slab of techno weight. Eerie synth textures, creeping vocal whispers and pounding drum rhythms combine in another delight for all club creatures from the promising German producer.

On the flip French production demon Draugr revisits the label again following on from his Nine Nights EP at the end of 2021. Menacing melodies, charging drum work and ominous atmospheres pour out of yet another industrial-tinged mammoth from the Parisian nightmare weaver. Ending the record is the label debut of Berlin-based Puerto Rican heavyweight Xiorro. Off-beat bass, hypnotic percussions, and grungy synth blasts close out the compilation with another certified club weapon.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.