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The Birgan project is all about melding diverse musical words - ambient, techno and Afro-inspired polyrhythms - into something that is utterly unique. Many artists set out with this intention but few achieve it as successfully as this one, as this sensational EP shows. It is an immersive and escapist five-track work of stunning sound designs and inventive rhythm that feels both organic and natural yet synthetic and futuristic. The tracks explore deep, mysterious sonic landscapes that are both tranquil yet complex and make for an immersive, thought-provoking listen from the dubscapes of 'Beats Of The Congo Cosmos' to the more psychedelic realms of 'Subaquatic Sonic Voyage'.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

Control 333 is the E.P. of Uruguayan artist Leo Mendez a.k.a Jardines Sin Explorar, who has left this earthly plane at the beginning of 2024.

This release features 2 super powerful EBM tracks, with infernal bass lines and melodies that achieve a rave atmosphere, 2 pieces of music that takes us on a ride to the true essence of the Underground culture of electronic music.

"Heridas", a track with a classic Ebm sound with a strong bass that marks the hypnotic of the track, accompanied by melodies in their leeds with influences of the punk sound that characterized Jardines, a track loaded with many feelings that are transformed into pure fire. "Turbio" is the second track of the ep, which is more characterised by the electro industrial sound with post punk influences, rhythmic leads and break drums with crashing vocals that lead you to explore your darker side.

Anyone with a passing interest in footwork and juke will know of Traxman. Corky Strong has a long history of deep involvement in Chicago house, first releasing on the legendary Dance Mania label in the mid nineties, and since then splitting his productions between ghetto house, juke and footwork, releasing alongside Steve Poindexter and Fast Eddie and the late DJ Deeon and DJ Rashad, including an seemingly endless supply of self-released juke edits of whatever direction his deep knowledge of Black American music takes him. The third volume of 'Da Mind Of Traxman' is his first since 2014. In the intervening years he's kept things rolling, DJing regularly, releasing lots of music, becoming a grandfather and being a mentor for younger artists coming up in the scene.

This new album was crafted with the help of fellow Planet Mu artist Sinjin Hawke, who took on A&R duties to collate the best from hundreds of tracks dating back to 2005. Sinjin holds Traxman's status in high regard; "This album series is important and holds real documentarian value—working on it feels like the modern equivalent of curating a piece of Miles Davis’s catalog in the '60s and '70s." Volume 3 showcases Traxman's uncanny ability to take old music into the future without losing the feeling and energy of his samples and influences. He knows how to add a hi-definition modern chassis with the skill of someone who deeply and intuitively understands the craft of dance music. These are some of the purest, most innovative ideations of Chicago footwork.

a A1 Kill Da DJ (ft. Bobby Skillz & Sinjin Hawke) explicit


[d] A4 Where They At (ft. DJ Twan) [explicit]

[f] A6 I’ll Write The Hook [explicit]


[i] B1 Trust Me [explicit]



[m] B5 Talaban [explicit]

This year marks the 75th anniversary of the release of John Lee Hooker’s ‘Boogie Chillen’. Recorded in Detroit in September 1948 by Bernard Besman – who had his own Sensation label – it was licensed to Modern Records in Los Angeles and released on 3rd November. The flip side was ‘Sally May’.

To say that the single caught fire is an understatement. It is believed that ‘Boogie Chillen’’ shifted in the region of a million copies in 1949 placing Hooker on the map as a blues guitarist and singer of the first rank – where he stayed until his death in 2001.

The original was, of course, released as a 78rpm single. In 2020 we issued ‘Boogie Chillen’ with ‘Boogie Chillen’ #2 on the flip as a limited edition of 500 copies that played at 78rpm.

We now present ‘Boogie Chillen’’ and ‘Boogie Chillen’ #2’ as a limited edition 7” single that plays at 45rpm. Despite being 75 years old, this classic recording still sounds so fresh and rhythmically propulsive it is hard to believe that you are listening to one man and his guitar playing live and stomping his feet in a room. Besman caught lightening as it flashed, just like Sam Philips did some years later with Elvis Presley in Sun Studios.

There are classics. There are stone cold classics. And there is ‘Boogie Chillen’’.

• John Lee Hooker is not an artist who plays by the rules that govern what we generally accept as “traditional” blues music—he very rarely plays in 12-bar format when he performs his songs. On his most popular tune, ‘Boogie Chillen’, his lyrical and musical phrases last anywhere as short as nine or ten, or maybe fifteen or even nineteen measures long, depending on how long he wants to “boogie” on his guitar riffs that roll and tumble between his patented vocal phrases.

Chalo & Vell return with Made From Moss Volume 2, marking the next step in their collaborative EP series. This four-track of club rollers explores a range of styles and tempos, each track anchored by distinctive rhythms and textures aimed squarely at the dancefloor.

Bangkok, despite being a bustling metropolis, boasts a music scene that feels as intimate and vibrant as those found in smaller European cities. It’s a place where local creatives from various disciplines come together, leaving their artistic imprint across the city. This collaborative energy resonates through Boiled Wonderland’s catalog, which features artists like DOTT, Sarayu, and Chalo—pioneers of Thailand’s burgeoning underground music movement. Both DOTT and Sarayu are co-founders of the record store and label More Rice Records, while Chalo plays a pivotal role as the mastering engineer at Thailand’s pressing plant, Resurrecc. It’s here that the Made From Moss project took root.

While Boiled Wonderland continues to champion eclectic and boundary-pushing music, its sonic direction has evolved to embrace a more dancefloor-oriented approach. This shift reflects the label’s immersion in Bangkok’s electrifying club culture and the inspiration drawn from the city’s warm, sunlit atmosphere.

The Made From Moss series emerged from a creative dialogue between Chalo and label founder Vell. Moss, with its simplicity yet dynamic nature, became the symbolic foundation for a series focused on rhythmically driven, danceable tracks. This vision also sparked the creation of Mosspit events and welcomed MetalMetal as a core contributor.

Chalo’s opener, Feeling, weaves house-inflected vocals with acid synth lines, building a steady groove that carries effortlessly to the finish. Tolerance Break follows, layering dynamic snares, tight breaks, and basslines that pulse with energy. On the B-side, Vell leads with The Ship Rolls Through, a euphoric roller balanced by flickering sound effects that keep the track grounded. Back To Normality closes the EP, leaning into progressive tones with bouncing bass lines that sizzle toward a breaking point, bringing the EP to a close.

The record is already receiving support from the likes of: Ploy, Mixtress, Raresh, Space Dimension Controller, Jennifer Cardini, Answer Code Request and many more.

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

90’s House Nostalgik duo “ No Hype DJ’s ” formed by DJ Stenn and DJ Stanic is coming back with new dancefloors heavy weapons, this time in ghetto house style like they used to make those Dance Maniacs bad Boyz .
Pure tribute to the Chicago House Pioneers Paul Johnson, DJ Deeon or Robert Armani and all the devoted.

Written, Mixed and Produced by ‪St. David‬ at TOW Records Studio in collaboration with No Hype Studios and Wildbox.

‘Ice Cream Dream Boy’ serves as a celebratory anthem, an ode to manifesting dreams into reality, and a testament to Shanti's knack for creating infectious and uplifting dance music as she explains: “I wanted to make a happy and uplifting vocal summer tune and I just so happened to be in the peak honeymoon romance period with my now partner (The Ice Cream Dream Boy). He had discovered my love for soft plush toys and decided to buy me a cute little fluffy Jellycat Ice Cream so when I made the instrumental I felt insecure and unsure about what lyrics to write, so I just decided to sing about what I was currently experiencing in my life. I had been a fan of Shivum Sharma for a while and I had just done a remix for his amazing song '7am', so after establishing a cute lil connection I thought I’d ask him to help me write the song as I was very new to writing lyrics!”

Beijing-based artist/producer Howie Lee interprets Tibetan Buddhist chants on his new album 'At The Drolma Wesel-Ling Monastery', the follow up to 2021's critically acclaimed 'Birdy Island'.

Recorded over two weeks at Drolma Wesel-Ling Monastery in the mountains of north-eastern Tibet, Beijing-based multi-disciplinary artist/producer, Howie Lee combines Tibetan Vajrayana Buddhist singing with Kode9-channeling bass/footwork science, glitched-out hyper-rhythms and sampled Chinese-Tibetan instrumentation for his latest album on Mais Um.

Invited to contribute and interpret chant recordings from the sound archive of monastery founder and master, Tuga Rinpoche's self-built recording studio, Howie Lee connects parallels in electronic music, deep meditation and devotional chanting to present eight reconstructed, IDM-warpedVajrayanamantras, journaling the beginnings of his journey into buddhism, and to continue Lee's career-long threading of ancient, cross-generational practice, modern Chinese history and experimental club-futurism.

Back in stock due to popular demand, the 33rd release in our signature Brazil 45’s series. A spellbinding pairing of Marcio Lott’s rarer than hen’s teeth, sun-soaked groover ‘Tema de Baby’ and the samba-rock fusion flavours of Silvio Cesar ‘A Festa’.

Marcio Lott’s ‘Tema de Baby’ is a REALLY rare one. We spent a long time trying to license this and were delighted to be able to release it as part of this series. Laid back sunshine samba-rock/funk/MPB, laced with Ramsey Lewis-esque piano and wah-wah guitars and lovely vocals top it off. Originally released on 7” by Tapecar in 1974.

Silvio Cesar’s ‘A Festa’ was brought to our attention - like many others in this series - by the almighty duo Brazilian Beats Brooklyn. A firm favourite here with everyone at Mr Bongo it’s a certified stormer from the opening beat. Jazzy, samba-rock fusion that touches on disco when the hi-hats open up. Floating synth lines, tough drums and crowd noise throughout add to the scintillating vibe. Taken from his LP ‘Som E Palavras’ released in 1977, as also featured on our Brazilian Beats Brooklyn compilation.

Occult Vision; a new LP based imprint, offers a space for artists to share a more complete body of their work. We create windows into the deeper, alternative and often more authentic sounds of carefully selected artists. It's rare a producer in the underground house and techno scene has this type of platform and Occult Vision aims to fill the void. Our first album is from one of Frankfurt's finest producers, Frank Heinrich. Known to most as Reboot and sharing what will be his first solo LP since 2016, we have here an intricately crafted collection of music that was brought to life during the lockdown phase of the pandemic. This unique time had a resounding impact on Franks creativity in the studio, leading to a sound that strongly represents his emotions throughout that period. The tracks we have helped to curate for this release are often melancholic, yet hopeful with carefully placed textures and rhythms carrying a stripped back yet emotive energy throughout. This isn't your typical club music; it's more personal and meant as a listening experience. "On A Grind" presents the harshness and rawness of that period for so many of us and whilst you will hear Reboots style weaved into these tracks, Frank hopes that you will feel the passion and emotions put into this record accompanying you in your own moments of reflection.

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.

There are many things we do not understand here, maybe in time we will.

Early support from Priku, Arapu, Sepp, Nu Zau, Mihai Popoviciu, Iuly.B, Vern and many others

We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.

Little John is one of the most loved and prolific 80s dancehall artists. He started as a child artist in 1979 and by the mid 1980s had recorded for every major producer. In 1984 at age 14 he already knew the ropes of the business and started to produce 45s on his own Romantic label, which he continued sporadically releasing tunes on up until 1993. For us this is one of the coolest looking labels of the latter 1980s, and has a handful of hard to find killer 45s, mostly obscure and mostly slept on. So naturally we needed to corral these for another all killer no filler compilation. True to his own roots, Little John’s label mostly features fresh youthman artists, though a handful of veterans, like Frankie Paul and Early B who are both featured here, also recorded for him. The ten songs on this comp are our favorites from the label, featuring a selection of killer rhythms spanning the heavy mid 80s style, the proper late 80s digital style, and the more uptempo early 90s style. Hardcore DKR heads take note - this features three cuts on that most hallowed 1987 digi rhythm.

Here it is, the sixth chapter in the sonic journey of Mr. Mangiadischi.

Continuing the dance-floor assault, MD006 delivers four tracks, each with a unique story but all with the same aim: to make you move to the rhythm.

• A1 - Mamma
A Balearic groovy deep house nostalgic tribute to the most important person we have in our life. This track blends warm melodies with heartfelt emotions, making it the perfect homage.

• A2 - Genug Vans
Intergalactic soul/post-disco space-tech. A cosmic voyage through pulsating rhythms and celestial sounds, designed to take you on a dancefloor odyssey.

• B1 - Fenel
A very modern interpretation of this '76 Algerian artist's funk/pop/world/country mesmerizing masterpiece. This track merges elements of funk, pop, world, and country in a blend that transcends genres and eras.

• B2
A disco/funk/pop-rap in its most modern and groovy version. Infectious beats and catchy hooks make this track a surefire hit for any set.

‘Belgium is too small for pianist Alex Koo’ – De Tijd

‘Stunningly original’ – Downbeat Jazz Magazine

‘Fabulous technique, sounding downright genius at times.’ – London Jazz News

‘When listening, Keith Jarrett’s name came to mind several times. Not because Koo’s playing is similar to that of the American master, but because it is of the same exceptionally high level.’ – Trouw

‘Koo’s compositions and playing are absolutely world class.’ – Written in Music

The son of a Belgian missionary sent to Japan in the seventies and a Japanese peace activist, pianist and composer Alex Koo refuses to be boxed into any traditional category. As the renowned German Jazzthetik magazine put it, "Alex Koo defies categorization."

With ten uniquely personal tracks, Blame It on My Chromosomes is more than a musical statement; it is a form of self-therapy. "The only way not to spiral into depression as a jazz musician nowadays is to vent and lose yourself in the music," Koo shares. "Music needs a purpose beyond self-promotion. For me, it's about accepting who I am and letting go of anything else."

Featuring celebrated trumpeter Ambrose Akinmusire on two tracks, Blame It on My Chromosomes highlights Koo's fearless versatility. One of these tracks, "Jonass," is dedicated to Koo's childhood friend who tragically passed away, adding a deeply personal layer to the album. "When we were kids, we would skate and do stupid things with shopping carts, inspired by Jackass," Koo recalls. "That's why we called Jonas 'Jonass'-he had the biggest smile you could imagine, his laugh was contagious, yet he also was the most reckless one among us."

Koo, praised as "stunningly original" (Downbeat Jazz Magazine), is known for creating music that transcends genre boundaries, blending jazz, indie, contemporary classical and film music with innovative freedom. A native of rural West-Flanders, Belgium, he began his musical journey as a classical piano prodigy at the age of five. In his teens, he developed a passion for jazz and improvisation, earning praise from jazz legends such as Kurt Elling, Kenny Werner, and Brad Mehldau. Koo has even been described as "of the same rare high level as Keith Jarrett" (Trouw). His 2019 album, Appleblueseagreen, featuring Mark Turner and Ralph Alessi, was included in Downbeat's Best Albums of the Year.

Alongside Koo, Blame It on My Chromosomes features his longstanding trio, whose fearless interplay brings the album's narrative to life. The trio, with Koo on piano, Dré Pallemaerts on drums, and Lennart Heyndels on bass, represents the very best of the Belgian jazz scene. Their intuitive chemistry and artistry are the driving force behind the album's emotive power, with special guest Ambrose Akinmusire adding a transcendent layer on two standout tracks.

RAWAX prouldy welcomes Costin Rp to the artist Family!
Costin is delivering since years quality releases for our Sister label called Pleasure Zone and many other great Imprints.
It was more than about time to bring the man from Romania to RAWAX! We are very happy to present you two releases in the near future.

After the success of the previous three chapters, Cristian Cosignani, also known as 5UNIVERSOS, presents a compelling fourth volume, a richly layered album infused with rhythmic elements that are perfect for the dance floor. With a distinctive blend of sophisticated house and minimalist dub, the Mantra EP is crafted to immerse the listener in the elevated vibrations of its four tracks, each serving as a meticulously designed groove instrument.

The journey begins with "Mantra," featuring a sequence of syncopated bass lines and deep vocals laid over a strict, minimalist drum pattern. "Thastha" follows with a funky bass progression, complemented by a sensual female chorus and a retro drumbeat, evoking a sunrise at sea.

On the B-side, "Greet" delivers a dry, rhythmic punch with a bassline that aims to make listeners smile with their eyes closed, as the filter opens and closes.

The EP concludes with "Tolerance," which introduces a Balearic string arrangement, adding a deeply spiritual and introspective layer to the overall experience.

This album is undeniably a pure expression of rhythm and the club atmosphere - an essential addition to any collection.

Chileans Are Playing

Master by Claudio Solis

Konstantin Sibold makes his debut on Adam Beyer’s revered imprint with compulsively danceable, highenergy, abrasively dark yet, in Sibold’s expert hands, somehow upbeat three-tracker ‘Lost In Space’. Previously releasing on Afterlife, Running Back, Aufnahme + Wiedergabe and Innervisions, the German producer eschews any genre straitjacket with his underground roots and mix of very diverse sub-genres. As a DJ, Sibold plays iconic venues worldwide inc.

Panorama Bar, Fabric, Tomorrowland, Awakenings and is famed for his marathon B2B sessions with artist inc. Solomun, Kobosil, Kerri Chandler, Kevin De Vries, and his remixes of such differing luminaries as Vintage Culture, Rebuke, Adriatique, Lana Del Rey, Laibach, Royksopp & many more. For the title track, Konstantin collabs with rising 20-years-young Brazilian talent KAF3R who aims to bring ‘sentimental and memorable experiences’ to all, creating a maelstrom of yin & yang. ‘Lost In Space’: This Peaktime Mainstage Melodic Techno monster efficiently resets the dance floor and turns it upside down at the same time.

A spacey robot vocal riff predicts a massive synth orchestrated shutdown. Konstantin Sibold debuted this beast at Tomorrowland Winter Mainstage. Heavily supported by Kolsch, Vintage Culture, ANNA, Kevin De Vries, Innellea and many more. ‘The Arrival’: This catchy stadium singalong hymn unites the dance floor with its Hands-Up hook, gated vocals and rolling baseline. Feels like a retro futuristic classic you already seem to know from a distant euphoric memory. ‘Dark Matter’: A hypnotic, recurring melody transcends between light and darkness. Referring to Konstantin Sibold’s old melodic techno hits such as 'Mutter', but with the addition of a trippy, alarming vocal fragment.

Tearra’s “Just Loving You” on it’s original U.S Midtown label due to its quality and desirability continues to regularly achieve four figure sale prices on the rare occasion that a copy comes on to the open market. Soul Junction through a licensing deal with Emandolynn Music first reissued this modern soul anthem back in 2017 as part of a dual 45 package that included the previously unissued Delights track “Listen To Me Girl” with the limited 500 copy pressing run selling out in a matter of days. Since then, copies of that Soul Junction release have regularly sold for circa £60 a copy with sales enquiries still being received for either side of this 45 to this day. Therefore, we at Soul Junction have decided to fulfill this continued demand by reissuing “Just Loving You” for the second this time paired with Teeah-Louise’s “You Happened To Me” as the featured flipside (reissued for the first time).

Tearra, real name Teeah-Louise a native of Mobile, Alabama was offered a recording contract by Philadelphian Record Producer/Label Owner Manny Campbell Jr during 1980. Campbell himself had relocated his Emandolynn Music operations from the city of Brotherly Love to Atlanta, Georgia some two years earlier. Campbell had planned to record a whole album on Teeah-Louise under the working title of “Great Love”. He firstly released a lead 45 single, the mid-tempo “You Happened To Me/Got To Keep You Mine” on his Coastal label logo with the artist credited as Teeah-Louise. Teeah’s fiancé didn’t share his future wife’s ambitions of a recording career and her prospective album project faltered and was never completed. Although as a further two tracks had been recorded this allowed a for second 45 release to follow “Ooh Let This Feeling (Last A Long, Long Time)” backed with the desirable “Just Loving You” these were released on the Midtown label, with Midtown by then being Coastal Records main record distributor. This second release was credited under the artist name of Tearra, due to Teah-Louise by now not wishing to use her real name. Both the Coastal and Midtown releases were only ever pressed in 500 promotional copies runs. Teeah-Louise left the recording business for good soon after her marriage.

In addition, a later 12” Coastal Records single issued on the group ‘Tomorrows Wish’ featuring the song “My Love For You” which shares the same backing track as Tearra’s “Just Loving You”. All four of Teeah-Louise’s songs were wrote by Manny Campbell, with Manny sharing the songwriting credits on “Ooh Let This Feeling (Last A Long, Long Time)” with his cousin, Keith “Toppie” Hill notably a former group member of the aforementioned ‘Delights’.

Tony Iommi ist ein englischer Musiker. Er war Mitbegründer der bahnbrechenden Heavy-Metal-Band Black Sabbath und war über fünf Jahrzehnte lang Gitarrist, Bandleader, Hauptkomponist und einziges ununterbrochenes Bandmitglied der Band. Er gilt als einer der Wegbereiter und Pioniere der Heavy-Metal-Musik und hat zahlreiche Subgenres des Metal inspiriert. Er gilt weithin als einer der größten Rockgitarristen aller Zeiten. Iommi hat eine Reihe von Preisen gewonnen. Dazu gehören Q Awards, Kerrang! Awards sowie drei Grammy Awards, die er als Mitglied von Black Sabbath gewonnen hat. Glenn Hughes ist ein englischer Musiker, der vor allem als Bassist und Sänger in der Hardrock-Band Trapeze und in den Mk. III- und IV-Besetzungen von Deep Purple bekannt ist. Außerdem war er Mitte der 1980er Jahre kurzzeitig Frontmann von Black Sabbath. Neben seiner Tätigkeit als aktiver Sessionmusiker verfolgt Hughes auch eine bemerkenswerte Solokarriere. Derzeit ist er Frontmann der Supergruppe Black Country Communion und war von 2013 bis 2015 Frontmann von California Breed und von 2019 bis 2023 Frontmann von The Dead Daisies. 2016 wurde Hughes als Mitglied von Deep Purple in die Rock and Roll Hall of Fame aufgenommen. Dies ist eine Neuauflage des zweiten Soloalbums des legendären Black Sabbath-Gitarristen Tony Iommi, das ursprünglich 2005 veröffentlicht wurde. Das Album enthält auch Gesang und Bassgitarre des ehemaligen Sabbath-Frontmanns Glenn Hughes. Diese Veröffentlichung enthält 3 Bonustracks.

World-renowned DJs and producers Marco Faraone and Deetron finally release their highly anticipated single,
“The Answer”, from the iconic party Pyramid, happening weekly at Ibiza superclub, Amnesia. “The Answer” is an
exquisite fusion of two techno powerhouses that is already making waves on dance floors worldwide.
Including an amazing remix from the man himself Paul Woolford, who delivers a hot dub remix for this first release of We Are Pyramid.

DJ Normal 4 lands on Fantastic Planet with his highly anticipated solo release, Spore Clouds EP. This sonic journey channels the raw, hypnotic energy of ’90s underground Goa trance while weaving in fresh, modern textures.

More than just music, this release carries a purpose: proceeds will be donated to support the Georgian resistance movement in their fight against an emerging far-right authoritarian regime.

Join us. Experience the music. Support the cause.

Zake's Drone Recordings label offers up this heartfelt collection in celebration of the label head's wife on a milestone birthday. Next to the man himself, awakened souls and Beno�t Pioulard also feature with the former offering 'Valleys and Peaks' from Julia's poem which blends Cynthia's ethereal vocals and James Bernard's bass with swirling synths and guitar. Beno�t Pioulard's lo-fi folk-pop 'A Heart Mirrored' and dreamy 'Our Era' reflect his signature style while Zake's cinematic pieces, including 'I Saw An Angel,' pay tribute to the inspiration of his wife. A lovely listen with a great concept

More Rice Co-Founder DOTT returns with his first solo EP on More Rice since MR002.

One the A-side Semitone Revolution brings a groovy repetitive bassline with an unpredictable transparent rhythm with a combination of different sounds and a quirky sequence that makes it a dancefloor track for many occasions. One Foot Forward, not a typical Tech-House track that uses detailed sounds and interesting swing. The original track is accompanied by a remix from groove addict Sweely, adding that Sweely touch, making it playable at almost any time.

On the flip side, About Quality Time, DOTT shows off his signature bassline with his interpretation of House music with his groovy rhythm, a track that truly combines after hours and peak time. About Quality Time comes equipped with a remix from Mr_Barcode or Jay Tripwire, putting a super trippy spin on the original track.Sleep deprivation is the secret sauce to his sound.

"The only career-spanning best-of compilation available on vinyl for the first time for pop sensations A-ha. The band turns 40 this year with a documentary currently available on streaming platforms and their biggest song “Take On Me” back on the Spotify Top 100 streaming. Now seems like a great time to get this back to market - with two new tracks included!
These tracks are currently available digitally and previously on CD"

Italian magic man Walter Del Vecchio aka Quiroga is back on Hell Yeah. After the success of his Acid Dropout EP here last year, this time he offers up a varied package of tasteful and timeless house music with a deep and Balearic twist.

Naples artist Del Vecchio is a Hell Yeah mainstay who has also released a fantastic LP here, Passages, and always takes inspiration from the Mediterranean energy of his hometown whether making late-night jams or house anthems.

The heartfelt 'French Kiss' opens this one with super smooth and classic deep house drums topped with a sweet female vocal and jazzy chord work. It oozes romance while the Baia Club Ambient Version is a blissed-out post-club comedown with soft acid lines, ambient pads, flutes and chords straight from a '90s afterparty.

'Ask Coppede' is another breezy and soulful house jam with live-sounding drums and percussion and golden chords that keep the good vibes flowing. Balearic bass gem 'Cala Ventosa' shuts down with gentle cosmic leads and glowing pads drifting through the night sky over supple electro rhythms.

Globetrotting Texan trio Khruangbin are set to release ‘Hasta El Cielo’, the band’s glorious dub version of their second album ‘Con Todo El Mundo’. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist.

The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t fnd this a surprising release. Dubs of tracks from their frst album ‘The Universe Smiles Upon You’ appeared on limited vinyl releases of ‘People Everywhere’ for Record Store Day 2016 and ‘Zionsville’ on the Boogie Futuro remix 12”. The especially eagle-eared willhave caught a dub of ‘Two Fish And An Elephant’ playing over the credits of the track’s celebrated video.

“For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The frst dub albums we listened to were records mixed by Scientist featuring the music of the Rootsb Radics. Laura Lee learned to play bass by listening to Scientist Wins the World Cup. His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of Con Todo El Mundo.”- Khruangbin.

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.

Since the album’s release, the band have continued their almost non-stop approach to touring, playing over 130 dates in 2018 alone. They return to the UK this summer for festival shows at Green Man, Latitude, Mostly Jazz, Funk & Soul Festival and Barclaycard British Summer Time.