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To honour twenty years since the release of Sugababes’ iconic debut album ‘One Touch’, the band released a series of brand-new remixes, These remixes are available on blue vinyl for the first time as a RSD exclusive. The reworks from Majestic, Metronomy, Blood Orange and MNEK offer a fresh take on classic singles “Overload’, ’Same Old Story’ and ‘Run For Cover’ Pressed to blue vinyl with new artwork featuring archive photographs.

Vielen erscheint Istanbul als ein von Mythen und Traditionen umrankter Sehnsuchtsort, andere betrachten es als Symbol für wirtschaftlichen Fortschritt. Seit den Gezi Park-Protesten 2013 sieht Westeuropa in der pittoresken Metropole am Bosporus mehr als die Hagia Sofia und andere Kulturdenkmäler. Der Gitarrist Erkin Cavus verbrachte viele Jahre seines Lebens in der riesigen, hochverdichteten und oft hektischen Stadt. Hier hat er Karriere gemacht, an der Seite berühmter Künstler gespielt, ehe er vor rund vier Jahren nach Deutschland zog. Nun setzt Cavus, zusammen mit Reentko Dirks, dem historischen Istanbul ein klingendes Denkmal. Inspiriert von Bildern des berühmten Fotografen Ara Güler (1928-2018), der als einfühlsamer und detailverliebter Beobachter zum Chronisten des Lebens seiner Heimatstadt wurde. Seine Aufnahmen des mittlerweile verblassten, teils unwiederbringlich zerstörten Istanbul und der ehedem höchst unterschiedlichen Stadtteile hängen längst in Museen. Bei der Entwicklung des Repertoires für Istanbul 1900 hat sich das Duo bewusst Zeit genommen. Der stärkste kompositorische "Flow" entwickelte sich in den Wochen vor dem Studiotermin. Die individuelle Form der Stücke, die absichtsvoll konkrete Jazz- wie traditionellen Bezüge vermeidet, "hat sich ungeplant entwickelt", so Istanbul 1900 ist eine atmosphärische Hommage, die mitunter nachdenklich klingt, dann wieder zarte Leichtigkeit suggeriert. Angesichts des Themas Vergänglichkeit und des Umstands, dass Erkin Cavus seiner Heimatstadt nicht ganz freiwillig Adieu sagen musste, ist ein Hauch Melancholie sicher keine Überraschung. Gleichwohl vermeiden die beiden Musiker jedes dramatische Pathos. Ihre Töne zeichnen, ganz im Geist der Schwarzweißa-Fotos Ara Gülers, feine Schattierungen. Selbst wenn sie in "Moda" schwungvoll das Nachtleben der großstädtischen Bohème oder in "Pera" die Dynamik in Straßencafés und -kneipen nach Feierabend imaginieren. Insgesamt entwickelt Istanbul 1900 einen sehr eigenen, subtilen Zauber, den man so nur selten erlebt. Ganz wie die Stadt, die an der Schnittstelle von Orient und Okzident Welten verbindet.

Duper, the new release from Morgan Geist, is a not-so-subtle callback to his 2001 EP, Super. "I was working most days with Kelley Polar on our new vocal project, Au Suisse, which isn't really dance music at all," he explains. "I started fooling around with these instrumental tracks at night for fun. Each track was in a different style, but they seemed to work nicely as a group. By the time I asked Kelley to contribute strings to the A-side, the record really started feeling like the sequel to Super."

Super Duper ­- get it?

Indeed, the playful synth riffs and sweeping disco strings of "Twilight Express" echo the palette of Geist's cult classic "24K" and early Metro Area. "Black Test Car" is a unique collision of minimal, almost Krautrock-style drums, sound library textures and spacy electro percussion. Meanwhile, "Feeling Is Mutual" is a rare acid outing that pushes beyond the usual comfort zone, the 303 acting more as feather than hammer on top of major-key modulations. "I love a lot of Aphex Twin and I love sweet, "quiet storm"-style R&B," says Geist. "I figured, why not?"

coalesce koh-uh-les 'to come together in or form one mass or whole'
Tritonal have embarked on a brand new chapter in their story which
began with 'Out Of The Dark', the first single from their upcoming fifth
album 'Coalesce'
Encompassing all that they've learned on their musical journey thus far, the
upcoming album solidifies production, art and meaning.
The upcoming record is a grandiose progressive trance production that sees
Tritonal's refined sound at its very best, supported by outstanding vocal
performances from a variety of collaborators, and is already set to be a favorite
amongst fans and supporters alike. In recent weeks, the duo wrapped up festival
appearances at EDC in Mexico City and Las Vegas, Metropolis Festival in
Brooklyn, and Dreamstate Harbor in Los Angeles, bringing their captivating and
vivacious sets to crowds across the country.
Double Gatefold, Neon Magenta Color Vinyl, Insert

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

The album is an eighty-seven-piece work for electric
guitars, orchestra, choir and electronics. Featuring the
Metropolis Ensemble conducted by Andrew Cyr , the
Brooklyn Youth Chorus conducted by Dianne Berkun
Menaker, and chamber choir The Crossing conducted by
Donald Nally, Telekinesis is the first studio recording of
the work. The Guardian calls it ?a superpower-themed
symphony ? a titanic composition.'

(reissue)

Pluto Shervington's move from his native Jamaica to Miami had a huge influence on the musician, singer, engineer and producer's sound. That is captured in this gloriously fresh take on reggae: it reflects The Magic City's bright lights and shiny metropolitan feel, technological advancements of the time and urban swagger of the people. It was recorded by the former member of the Tomorrow's Children show band at Earthman Studio in late 80's Miami and brings in lashings of funk, soul and disco to the clean digital sounds and fleshy reggae drums. His own mic work adds to a sound that calls 'urban reggae folklore' and makes for a superb listen.

Limited edition on green vinyl.The collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.


On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound Track contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound TrackIB1 contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

Freely inspired by the film Metropolis, the album New walls of Babylon offers a singular approach of jazz and electronic music around the universe of Fritz Lang. Acoustic sounds and traditional instruments are mixed with synthetic textures and modular instruments for a rich palette of dynamics and timbres. The two artists use this contrast to develop a contemporary aesthetic, symbolizing the relationship between man and technology, from confrontation to hybridization.

Nuron makes a spectacular return on De:tuned with a compilation of hidden treasures! Nurmad Jusat aka Nuron / Fugue, one of the originators of the UK emotive techno sound, went on a quest for archived material and unearthed a handful of DAT tapes with previously unreleased music from the early to mid 90s. The tracks offer a deeply melodic and unique masterclass. Nuron combines a pulsing four-on-the-floor signature beat of the traditional techno sound with his characteristic rhythm and harmony elements. Classic Likemind-esque material that comes with an exclusive Stasis remix of 'Contrapoint'. Essential purchase!

Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. Al White created all the graphic work. Stay tuned!

Repressed on Neon Pink and Black Vinyl ! This single LP edition of Piñata has been lacquered at half speed master by Metropolis Mastering in London for the highest fidelity and is housed in an 80s themed cover variant exclusively for Record Store Day 2021. Piñata, the acclaimed effort from Freddie Gibbs and Madlib is a perennial best seller. For RSD 2021 Gibbs and Madlib replace Crockett and Tubbs for a follow up to the blaxploitation inspired “Pinata: The 1974 Version”, with the 80s fueled “Pinata: The 1984 Version.” Though we promise, no mullets or ugly Ferraris.

Released in 2014. Continues to be a best seller. Never issued with this varriant cover.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

Yazzus follows up her appearance on the Tresor 30 compilation with a new EP named BLACK METROPOLIS.

Within its, at times, rough-hewn textures lies a core
that explores joy and energy within the roots of black techno. In her words: “I want this release to be black and beautiful, to be queer, and playful, a nostalgic nod to the 90s but also reimagining it in the current times.”

The Ghana-born, London-bred, now Berlin-based producer’s research into afro-futurism, envisaging a path forward for science, technology and culture through the black experience, has impressed a deep
vision on this EP. Yazzus sets like a cartographer, using her tracks to explore a technologically advanced world, each representing dierent regions and environments.

Human Error Processor introduces an ear-worming percussion pattern nearly swamped by distorted bass drums and a vocal sample screwed just beyond recognition. Perforated leads with a 150bpm four to the floor stomp, infectious and supercharged. Gluey synth
motions soak in an otherworldliness, where industrious,
mechanical rhythms map out futurist structures in all directions.

Metro City Bay Area exhibits a ghettotech soul, lean and bouncy - this part of the galaxy is an infinite source of fun, with the heart of groove at it’s core. Three Deities brings adventurers of its region towards higher powers, its ravey synths and an engulfing bass provoke a complete NRG release, ascending into a spiritual trance where dense melodies bubble and fizz.

Digital-only track United By Fate meddles busy vocal samples with searching melodies, a fitting end to the kaleidoscopic that is BLACK METROPOLIS.

restock coming...

Last Year, Dub Techno Veterans Paul St Hillaire And Rhauder Joined Forces For A Superb Collaborative Debut Album, Decoded. Sushitech Has Wisely Chosen To Breathe New Life Into Their Soulful, Dubbed-out Exploits By Handing Over The Parts To A String Of High Profile Remixers. The First Of Three Reconstructed Eps Begins With Cobblestone Jazz's Peak-time Take On "skank", Where St Hillaire's Patois Vocals Ride A Metronomic Techno Backing Track Rich In Restless Late Night Stabs, Delay-laden Woodblock Hits And Bleeping Electronics. Flip To The B-side For A Warmer And Hazier Take On "control" By Amorf. Sitting Somewhere Between Bass-heavy Tech-house And Head-in-the-clouds Deep House, It's Something Of A Hypnotic Delight.

"UNITED", Tristesse Contemporaine’s new album is like a space shuttle, full of metropolitan and eccentric music makers.

Inside the shuttle: Narumi, Leo & Mike, respectively from Japan, Sweden and Jamaican-British. All "united" behind the unique Tristesse Contemporaine flag and led since the start by French label Record Makers (Kavinsky, Sebastien Tellier, Cola Boyy…).

After three rock & post-punk infused albums: "Tristesse Contemporaine" (2012), "Stay Golden" (2013) and "Stop and Start" (2017), they’re off to a new start and open a new cycle with their new opus "UNITED".

Who other than young prodigy Lewis OfMan, the one-man band behind hits like "Attitude" and renowned collaborations including Rejjie Snow or Carly Rae Jepsen, to join the joyous ride?

After hearing "Sly Fox"'s first demo in 2019, they convinced him to produce a whole album for them and became the fourth member of sorts, adding his pop sensibility, mixing genres and emotions with funky basslines, strong hooks, and digital arrangements.

A free-spirited album filled with irresistible beat-driven tunes thanks to Mike's thunderous voice, Narumi's sparkling synths and Leo's gleaming guitar, conquering new territories from reggae to 90’s breakbeat or New-York disco. A unique and united style glued together by a rare ability to switch moods and dynamics in a gleam of light, like a skilled DJ would.

'Swooping, sub-heavy sci-fi from Riz Maslen. Leda Maar is a new moniker for the established artist who’s released a crop of downtempo and electronic music as Neotropic and Small Fish With Spine, as well as collaborated with the likes of Future Sound of London, filmmaker Andrew Kötting, and featured in PSP-era Grand Theft Auto soundtracks.

Mana’s long lasting love of Riz’s 1996 Laundrophonic EP, released under her Neotropic name, spurred this new release. That 12” was a deep and dark web of rhythm and ghostly urban found sound that one Discogs reviewer aptly named “coin-slot Dubstep”. With elements mostly sourced from tape recordings made in and of her local laundromat, it still stands out as a remarkably contemporary feeling work; more like a post-Fisher, post-hauntology observation of urban life from the last decade, taking the ambient temperature and undercurrent pressures of the 90s. Asking if she had anything in continuity with this slice of her discography, and describing our interest in her take on “space and bass”, Maslen returned to us with Stairway 13.

Heavy-lidded and ethereal in long form, the album’s balance of bass weight, mechanical metre, and darkly tinted new age feels like a cinematic re-approach to some of the textures, moods, and themes of Laundrophonic. Originally designed for an installation, Stairway 13 folds in her decades’ experience in sound design and theatre, along with shards and elements abstracted from her more recent folk-like music, zoning into a deep, retreated, altogether dreamlike and expansive atmosphere. The scale and soundscape is reminiscent of Geinoh Yamashirogumi and their Ecophony album series, resonating to similar frequencies and exploring themes of chaos and re-birth in feature-length form.

Stairway 13’s four parts spread and swoop as single extended sides across this double LP. Carried by waves of sub bass and heavenly chorus, and later punctuated with autonomic clicks of machinery, whirrs, and pulses - sometimes reminiscent of FSOL’s weirder and more clipped staccato sampling in sections of their cyberpunk ISDN - the work forms a gothic, otherworldly ambience. A subtle space opera.'

Die Vol. 1 aus Jacob Colliers spektakulärer Albumserie ”Djesse” jetzt endlich auch auf LP!

Dass das Album-Projekt des frischgebackenen GRAMMY-Gewinners aus insgesamt vier Alben und vierzig neuen Songs bestehen wird, aufgenommen mit einer Vielzahl musikalischer Gäste aus diversen Genres und von allen Ecken der Welt, ist inzwischen allseits bekannt. „Djesse Vol. 1” erschien 2018 und folgt jetzt auf vielfachen Wunsch auch als LP nach. Zu den musikalischen Kollaborateuren gehören das Metropole Orkest, Laura Mvula, Take 6, Voces8 und Hamid El Kasri.

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

The new release from Structured Records is signed by the Spanish duo hailing from Sevilla, The Wire Alliance.
Delivering their distinctive sound with meticulous production skills crafting beats at their studio using their analogue and digital gear.

¨Mathspace¨ is highly influenced by the old and new sounds from techno, experimental & noise. The first track is an introduction to set us on this journey of paced rhythms and industrial landscapes.

The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: This Is What Happened. It’s an understatement that manages to say everything. Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape. Metric’s sound is both genre-defying and genre-defining. Emily Haines, Jimmy Shaw, bassist Joshua Winstead and drummer Joules Scott Key started playing together in NYC in 2001. They are just getting started.

A violin, a fife, and the endless sky opens up to us. Two voices cross it, a duet of swallows playing their perpetual encounters, joined by percussion that crashes like waves on jagged coasts. This is the opening of the album Déliryom, the beginning of this "watia watia" - meaning joyful mess or tasty mishmash, opened by six "zoreys": in Reunion Island Creole, it means metropolitan people from France. But these zoreys claim their creolity as a family of the heart, a chosen homeland. And they celebrate it. Rosemary Standley (Moriarty) and Marjolaine Karlin met at a concert where Reunionese maloya was resounding in Paris. It was in 2008, and their fascination for the island, its rhythms, its language born for poetry was bound to bring them together. A character too, a majestic poet and celestial wanderer, who for them would be a spiritual father - Alain Peters. Or rather his ghost, since he died in 1995 of a heart attack, leaving behind a daughter and some twenty songs that have shaped a fertile horizon for all the musicians of the Reunion Island... and elsewhere! Six years after giving birth to their first album (Zanz in Lanfèr, 2016), the two singers continue this great journey, exploring other pieces forged over the years, always alongside percussionist and rhythm doctor Salvador Douézy, and new zoreys who have joined them. There is Gérald Chevillon, who plays bass saxophone, Chadi Chouman as a guitarist who has no equal in awakening the colors of his native East, and finally Jennifer Hutt, whose energetic violin evokes the Cajun colors of New Orleans. For even if this new album tells of other facets of the Peters totem, it also ventures towards other Creole lands, other islands where music and song are much more than entertainment: they are a way of being in the world.

For the next instalment in our split series, we handed the reins over to two producers whose work has kept us continually inspired over the last few years. At the helm of the A-side, Berlin big-room havoc-wreaker AMOTIK puts on the burners right away with two riotous jams that scream nothing but sonic aggression. On the flip, the mysterious, genre-unbound Janice sweeps us into his psychedelic, non-formulaic techno mindset. True to AMOTIK's minutely balanced, well-integrated blends of punishing kick drums and sunken harmonics, metronomic destroyer "Narangi" swings the pendulum sharp and clean, from deep down a thick sludge of reverb-soaked, FX-topped percussive armada to bleeps n' bloops barrage fire, whereas quake-inducing tides of 909 thunder hail down upon the dance floor with unrelenting frenzy. The dusty bone-bruiser "Hara" picks up the torch and it's in no calmer mood. A slowed-down, breaks-loaded churner, this one relies on a fine engineering of lo-freq moves and pure hardware-processed filth to establish a murky motel, cinematic narrative of sorts. Up with the fracturing wares, here's Janice rocking the flip upside down with the aptly-titled "Mass Formation Hypnosis". Doing what's written on the tin, the faceless producer rushes us headfirst into the boiler for a thorough, unfaltering brainwash. Smelling of leather, grease and coal, this one's bristling with a delectably rugged palette of unambiguous electronics: an ultimate shelling of chest-rattling drum work, in-your-face bass uppercuts, trumpeting stabs and menacingly altered vox. The final salvo, "Names and Excuses", tops it all off on an ominously droney tip, flinging us right away into the frothing mouth of a deadly machine giant, hurtling and tumbling down mazy bowels of washed-out ambient techno via rhyzomatic gutters of brooding abstract motifs and no-frills heavyweight pound. Hectic. ''XVII'' comes adorned with a duly outstanding frame to shine, and will be pressed on 180g audiophile quality vinyl. Once again a way for RYC to openly declare its aspirations and goals, in letting people know that quality, passion and love for the music is all that matters.

Back in stock!

We say it’s better to dance on a full stomach. That’s why Snaretrade kicks it’s music-label existence off with a wholesome recipe for a vegetarian pasta. Inspired by, but definitely not an authentic pasta alla carbonara. After that, we use some familiar dance tropes in an attempt to nudge you and your full tummy to the floor. Further Instructions was made after downloading a 5 euro Rhodes sample pack, and Beekkant is named after a Molenbeek Metro station. We’ll let you decide in which musical genre they belong.

Been Stellar is what you get when you leave the youth alone in a
metropolis; they grow up, they make noise
Crackly, bright and distorted - stories of violence, love, and a new, un-glamorous,
New York City. 12" EP pressed on red transparent vinyl. Hailing from the suburbs
of Detroit, the beaches of Los Angeles, and Brazil by way of Sydney, Nando Dale
(guitar), Laila Wayans (drums), Sam Slocum (vocals), Nico Brunstein (bass) and
Skyler St. Marks (guitar) have positioned themselves at the glimmering rotten
center of tonight's rock and roll. Each member so distinctly themselves, it must
be assumed that such a diverse and unlikely gang were drawn tight together in
their first year of university by nothing short of serendipitous fortune and a
shared, waggish sense of humor.
They are a band of friends - sharing, crying, fighting, and kissing - wreaking havoc
together and laughing like how only the jaunty youth can afford to. Been Stellar's
arrangements come textured, swooping - pushing past you at a downtown pace
and off to find a better night. The songs are of their own time and space, offering
a New York City - Been Stellar's New York City - the sounds of growing up young.

Originally released in 1987, « Metropolitan Jungle » by German synth-pop band Cold End is reissued by Swiss label Proxima. Cold End is the second musical project of Katrin A. Kunze, Jürgen Grah and Markus Kammann. Musically, the sound of Cold End was something special back in the time, as a successful fusion of electronic and soul. Dynamic percussions, synth textures and enchanting vocals. Includes an aerial rework by Audrey Danza. All four tracks are freshly remastered!

Perc returns to Perc Trax with 'Dirt', one of his most raw and uncompromising works to date. Across three versions of the track, one remixed in collaboration with rising US star EAS, Perc fuses together dry looped techno with caustic industrial sounds and just a splash of rave euphoria.

Opening up the release is the original mix of 'Dirt' layering searing top end percussion over cropped breakbeats before dropping unexpectedly to an unmistakable classic piano riff. The riff has been completely replayed and reproduced rather than sampled and provides the kind of sudden jolt that Perc's productions are famous for.

On the B-side Perc teams up with Los Angeles DJ and producer EAS who returns to the label for the first time since his devastating remix of Perc's own 'Dumpster' in early 2021. Perc provides the beats and EAS serves up the 303 lines, as the hedonism of the original mix's piano drop is swapped for a screw faced slice of warehouse acid.

Rounding off the release is Perc's own 'Crowd Mix' which focuses on the beats with additional layers of percussion and atmospheric crowd samples filling the space taken by the piano hook and acid lines of the first two mixes.

'Dirt' will be released as a hand-stamped white label release in a stickered black paper sleeve. The release was mastered by regular Perc Trax mastering engineer Matt Colton at Metropolis studios with Adult Art Club handling visual presentation and design.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Morgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.

Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).

Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Ltd weiße 140G Vinyl mit bedruckter Innenhülle und Artwork/Design von Trevor JacksonMorgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.



Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).



Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Robbie Williams hat die Veröffentlichung seines kommenden Albums "XXV" angekündet, das am 9. September 2022 erscheinen wird. Das Album feiert 25 Jahre Robbie Williams als Solokünstler und enthält unzählige Nummer-1-Singles und Fan-Favoriten. Die Titel wurden von Jules Buckley, Guy Chambers und Steve Sidwell neu orchestriert und mit dem renommierten Metropole Orkest in den Niederlanden neu aufgenommen. In seiner bisherigen Musikkarriere hat Robbie insgesamt 17 Alben in den Charts platziert, sowohl als Solokünstler als auch mit Take That. Damit gehört er zu den drei Künstlern mit den meisten Nummer-1-Alben aller Zeiten im Katalog.Robbie Williams a annoncé la sortie de son prochain album «XXV» pour le 9 septembre 2022. Cet opus célèbre les 25 ans de Robbie Williams en tant qu'artiste solo et contient d'innombrables tubes dont le légendaire «Angels» qui a catapulté Robbie vers une renommée internationale et qui reste son single le plus vendu à ce jour. Les titres ont été réorchestrés par Jules Buckley, Guy Chambers et Steve Sidwell et réenregistrés aux Pays-Bas avec le célèbre Metropole Orkest. Au cours de sa carrière musicale, Robbie a classé au total 17 albums dans les hit-parades en tant qu'artiste solo ou encore avec Take That. Il fait ainsi partie des trois artistes dont le catalogue compte le plus d'albums numéro 1 de tous les temps.

dark red marbled vinyl

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

XXV, the thirteenth studio album from Robbie Williams, consists of all the classic hits newly orchestrated by Jules Buckley, Guy Chambers and Steve Sidwell, and re-recorded with the acclaimed Metropole Orkest. Also, included on XXV is “Lost” a new original composition & single.

Pinecone Moonshine’s Rhythm Section is breakbeat focused drum and bass with themes of jazz and funk. Rhythms range from steady rolling, drumfunk to bizarre syncopated patterns to techstep and techno-like rhythms.

Trapped Animal Records are proud to present for the first time on vinyl, Stars and Rabbit's 2020 smasher 'Rainbow Aisle'. Remastered at Metropolis to lacquer and cut to 300 Purple Stripe 180GSM 12"s this is a very special package from Indonesian household names, Stars and Rabbit! // Press quotes : Alternative Fruit, UK - This fun and catchy album is laid back to back with classic numbers which each have a soul of their own. A friendly rock 'n' roll delivery mixed with classical melodies and homely closeness allows us to hear this band in person from wherever we happen to be. // Analogue Trash, UK - Reviewed (Little Mischievous) There’s a joy and innocence at the heart of Little Mischievous that is delightful and infectious, in large part down to the fun, rollercoaster vocals of Elda Suryani. Sounding like a cross between Nina Persson and Björk, her livewire performance is the perfect foil for Didit Saad’s equally electric lead guitar melody and the briskly bouncing arrangement. // Reviewed Naked King - They make up the central core of the song, as soft synths and lush strings wash in and out of perception, combining to confect a sweet sense of serenity. Though contemplative, Naked King looks outward and also seeks to engage the listener: the children’s choir and assertive guitar solo bringing the song to a euphoric crescendo, with Elda Suryani’s performance directing the song to ever greater heights. // Antenna, Japan - Stars and Rabbit were captivated by a variety of songs that sublimated 90s introspective alternative rock, mainly in Europe, such as Sigur Rós, Radiohead and Portishead. On one occasion, listeners like "Little Mischievous" show light guitar pops that can sing a long, and "Attic No.7" shows a jazzy, dark side like a trip hop. // Atwood Magazine, UK - Elda Suryani and Didit Saad make up the group and both employ signature rhythms and harmonies onto each song of theirs, and “Little Mischievous” is no exception with its slick guitar riffs and tantalizing vocal performance. // Beehive Candy, UK - Their new LP, Rainbow Aisle, a full spectrum of colors, showcasing their knack for groovy electro rock as well as intimate acoustic confessions. // Big Takeover, US - Wow, such a vocally and lyrically intriguing number! Yet again, there’s the ’90s alt-rock feeling, but the vocals are yes, mischievously impish; a teeny-tiny bit like SOAK vocally, but with a grainier, deeper timbre.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

Avantgarde Metal band IMPERIAL TRIUMPHANT announce their 5th studio album “Spirit of Ecstasy”. The trio from New York manages to surpass their already brilliant recent longplayer “Alphaville” that has been released in 2020. Thereby IMPERIAL TRIUMPHANT convince again with outstanding musical finesse and complex songwriting. Therefore, it is no wonder that "Spirit of Ecstasy" features some well-known guest musicians from the jazz and metal scene. This is a must have for all fans of complex and avantgarde metal. The album will be released as Ltd. CD Edition (Mini-Gatefold), Gatefold 2LP & LP-Booklet and on all digital platforms.

We welcome Stasis to De:tuned! UK techno pioneer Steve Pickton has dug deep into his DAT tapes collection to unearth 2 previously unreleased recordings from the golden era '92-'93. Both rarities offer a trademark lush and retro-futurist Detroit inspired sound that is totally unique. Fellow Likemind legend Nuron provides a stunning remix. The track was built up from scratch as no stems were available, giving you another sneak peek of the genius musical mind that is Nuron.

The vinyl version comes with impeccable sleeve and label artwork by Abdul Haqq (Third Earth).
Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl.
A separate digital release will also be available at the usual digital shops.

Stay tuned!

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

For her forthcoming album Colour My Life, Heather Small, has teamed up with award-winning producer Rupert Christie and the London Metropolitan Orchestra to reimagine all of her Top 10 hits from both her career with M People as well as her solo material. There's also brand new music, in the form of the beautiful rendition of Paul Weller’s ‘You Do Something To Me’ to her super catchy uptempo lead single ‘Love Me or Not’

Heather Small, one of the most distinctive British female vocalists began her pop career as a teenager in Hot House, before becoming the voice of M People, one of the world's biggest dance acts which went on to sell tens of millions of albums worldwide, winning numerous Brits and a Mercury along the way. She launched her solo career at the turn of the millennium with Proud, which has gone on to be a timeless classic for all ages, featuring in theme songs for The Oprah Winfrey Show, Queer As Folk as well as performing at London’s 2012 Olympics.

The new album features orchestral versions of all of the UK Top 10 hits; Moving on Up, How Can I Love You More, Search For The Hero, One Night in Heaven, Don’t Look Any Further as well as the title track Colour My Life.

In keeping with the album title, there will be bright bold creative content to launch the album pre-order campaign and new single on the 19th of April. The video for the lead single ‘Love Me or Not’ will drop mid-May. Throughout the pre-order campaign, Heather will be doing select pieces of promo, such as the 2 hr radio special ‘Moving on Up’ on Bauer and performing live at numerous British Festivals, such as The Isle of Wight Festival (Broadcast on Sky Arts) Around the July release date there will be TV/Radio performances as well as a digital and social media campaign. Heather will tour with the orchestra in the Autumn.

On-U Sound announce latest volume in the Pay It All Back series with unreleased Lee “Scratch” Perry track, plus 40th anniversary live concerts

On-U Sound is proud to present the latest volume in the much-loved and collectable series of On-U Sound label samplers, packed with exclusives, alternate mixes and previews of upcoming releases. Includes unreleased tracks from Lee “Scratch” Perry, Tackhead, African Head Charge, Mark Stewart, Creation Rebel, Andy Fairley and more.

The first music to be shared from the album is an unreleased track with the late, great Lee “Scratch” Perry - “Many Names Of God” is an outtake from the sessions that produced the Rainford and Heavy Rain albums and also features vocals from Nightmares On Wax collaborator LSK aka Leigh Kenny.

The release of the new compilation also coincides with a very special concert taking place at the Forum in London, originally scheduled for 2020 but delayed because of the pandemic. Celebrating 40 years of the On-U Sound label, it brings together musicians and artists from at least four different continents for a unique evening with Horace Andy, Tackhead, African Head Charge, Creation Rebel and most of the other musicians featured on the album.

Label boss Adrian Sherwood comments: “As usual with the Pay It All Back series, the intention is to promote our upcoming releases and productions. Also on offer are previously unreleased gems, versions of tracks exclusive to this release and more from artists that we’re keen to promote. Sadly in the last year we have lost so many music giants from amongst us, including Lee “Scratch” Perry, George Oban and John Sharpe. Lee Perry laughed at death. It was to him just a part of life and another beginning...I trust Lee. I’m very proud of this album, it goes out to all On-U Crew, our missing and irreplaceable friends.”

Please note that the Rita Morar and Mark Stewart tracks are vinyl only, are not currently available digitally, and therefore are not accessible via the download card.

- Spec: Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card

Bonus tracks accessible via DL card:
1. Tackhead ft. MAD 45 - I Don’t Wanna Work A Fake Job
2. Sherwood & Pinch - Excessive Drinking
3. Ital Horns - Metropolis
4. LSK - Money Masters
5. Andy Fairley - Deranged Man

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we pop, dip and spin into the spring season. As a label owner, Paul’s mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones. Rather than staying too hung up on the past, he continues to focus on serving up the best in new Acid, Electro, Techno, Deep House alongside scintillating slices of Downtempo music.

Sticking to the trusted format of 4 superlative cuts from equally talented producers, the quality and talent on show does not disappoint on WGD 007. Starting the dance with 303 maestro and label legend Tin Man, A1 “I Said Acid” is a tantalising twist on the classic combination of a Roland TR-707 and SH-101. As a metronomic pulsating kick carves out a squarely hewn path, slow opening filtered lead and hauntingly repetitive “Acid” vocals exert maximal pressure to create a sheer moment of joy. Balanced out by the dreamy atmospherics of A2 “I’ll Meet You On The Dancefloor”. UK Deep House supremo Rai Scott exerts her perfected knowhow: blending organically tinged percussion with profound melodic touches that meander across the borderlines of your consciousness.

On B1 “Necessary Order”, the machine mastery of Sound Synthesis collides in perfect harmony as Keith Farrugia demonstrates his deft turns of the dials that are becoming more in demand. A sprinkle of stargazing soul is woven around light touch acidic tweaks and snappy drums, echoing the twinkling embers of the cosmos. Not to be outdone, Dutch born German bred producer Roger Van Lunteren takes control with the final slice on B2 “Le Dee Trois Trio Prends Trois”. A wince inducing, sawtooth heavy jam that should not be taken lightly. As the saying goes, this one’s only for headstrong.

'For the born Londoner the country ever remains an incredible mystery. He knows that it is there – somewhere – but he has no true vision of it. In spite of himself he Londonises it, suburbanises it; he sticks a gas lamp or two in the lanes, dots some largish villas of red brick beside them, and extends the District or the Metropolitan to within easy distance of the dark wood.' – Arthur Machen, Far Off Things

Kontinuierlich hat sich Wolfgang Haffner weiter in das Vorderfeld der Top-Schlagzeuger gearbeitet. Deutschlands einziger Jazz-Superstar mit Pop-Anklängen, der Trompeter Till Brönner mag genauso wenig auf ihn verzichten wie Nils Landgren, wenn er Abba den Funk verordnet.
Norwegens aufregendste aktuelle Stimme im Jazz, Rebekka Bakken holt ihn immer wieder in ihre Band und selbst die No Angels riefen ihn an, als es an die Produktion ihrer Konzert-DVD ging. Die letzten Veröffentlichungen des Schlagzeugers waren aus den Jazz-Charts vieler Länder nicht wegzudenken.
Neben der Virtuosität des Instrumentalisten Haffner darf man aber nicht vergessen, dass er ein ausgezeichneter Songwriter, Arrangeur und Produzent ist. Auf seinen eigenen Alben hat er diese Fähigkeiten bereits zur Genüge angedeutet, mit dem vorliegenden Album jedoch liefert Haffner sein Meisterstück ab. Durchaus seinen Helden wie Pat Metheny, Esbjörn Svensson oder auch Dhafer Youssef verpflichtet, gelingt es ihm, eine überzeugende Mischung aus innovativen Sounds, tragfähigen Melodien und brillantem Gruppensound zu erzeugen, die erstmals rein europäische Züge hat.
Dabei hat er die Creme de la Creme europäischer Jazz-Musiker wie selbstverständlich zu einem Sound geformt, der das Zeug zum Klassiker hat. Die flirrenden Gitarrensounds von Martin Koller (Rebekka Bakken Band), elektronische Effekte, die an die besten Momente aktueller skandinavischer Produktionen erinnern, hier und da kompromisslose Rocksounds (»Corazon«) und natürlich auch immer wieder Jazz Soli auf höchstem Niveau. Trompeter Till Brönner trägt mit seinem Flügelhorn – Solo dazu bei, dass »Shape Of Peace« zu einem atmosphärischen Highlight gerät.
Der magische Sprechgesang von Rebekka Bakken macht »Somewhere Else« zu einem andachtsvollen Moment des Albums, in »Momo's Dance« werden die Basslinien von Tim Lefebvre spielerisch leicht von Nils Landgren an der Posaune umtanzt, »Seventy Five« glänzt durch Reminiszenzen an Krimis der 70er Jahre. Immer wieder sind es aber auch die elektronisch verfremdeten Sounds z. B. von Saxofonist / Bass Klarinettist Johannes Enders, die »Zooming« so zeitlos und aktuell erscheinen lassen. Andererseits hat noch kein Album des Nürnbergers derart facettenreiche Schlagzeug-Sounds eingefangen, man staune nur über die intelligente Einbettung seines Solos in dem Stück »Metropolis«, die in keiner Weise aufgesetzt sondern einfach nur organisch wirken.

Musikexpress:
"Statt der Zurschaustellung seiner Trommelkünste steht hier das Bemühen um einen homogenen Gesamtsound im Vordergrund. Dabei zeigt sich Haffner hier sowohl als cleverer musikalischer Architekt, der getragene Themen und flächige Strukturen effektvoll mit lebendigen Clubgrooves kontrastiert, als auch als sensibler Klangmaler. Elemente aus Ambient, Elektronik, Fusion, Drum'n'Bass und gelegentliche Worldmusic-Tupfer addieren sich hier zu einem eleganten und sehr europäi- schen Nu-Jazz-Entwurf (…) Wahrlich coole Musik, die dem Hörer ihre Brillanz nicht sofort an den Kopf schmeißt, sondern ihre subtile Kraft und Klasse nach und nach offenbart"

Stereoplay:
"Aktuelle Euro-Sounds statt abgenudelter US-Fusion - so lautet hier das Programm von Deutschlands bestem Allround-Drummer. Mit Tim Lefebvre, Bass, und vier wechselnden Keyboardern legt Wolfgang Haffner eine fabelhafte Basis für Johannes Enders' oft elektronisch verfremdetes Gebläse und die E-Gitarre von Martin Koller. Nils Landgren, Till Brönner und Rebekka Bakken setzen schöne Akzente in den Tracks, die Electro-Jazz mit HipHop poetisch verschmelzen."

*Originally a Rough Trade Exclusive release to go with their end of year top ten charts.., we have made a further 300 pressing of this limited EP, that celebrates and indeed, accompanies one of 2021’s standout releases, Cassandra is in the UK in late August for GreenMan and the End of the Road.*

Cassandra Jenkins takes the opportunity to expand on a track from her An Overview On Phenomenal Nature LP and presents two side-long ambient pieces as an exclusive for Rough Trade. "The Ramble (Morning, May 2021)" and “The Ramble (Night, May 2021)” both prominently feature field recordings made in her native New York’s Central Park, and in the woods of upstate New York. Improvised piano, saxophone, and guitar interconnect and break apart over the sounds of birdsong, crickets, and a distant metropolis. There will be no further pressings of this.

sferic cruise the best coast with Jake Muir's solo debut, arriving in pursuit of the immersive ambient-architextural themes which also influenced Space Afrika's warmly received 'Somewhere Decent To Live' LP and Echium's lush 'Synthetic Space' side.
Jake Muir is a sound designer and artist from Los Angeles, California, where he's previously recorded and released albums under the Monadh moniker for Further Recordsand Dragon's Eye Recordings, the latter of which recently lead to his inclusion on the Touch compilation 'Live At Human Resources', where he took part in a beautiful group tribute to Jóhann Jóhannsson along with a number of solo contributions.
On 'Lady's Mantle' Muir unfurls a poignant sound image crafted from samples of a well loved American pop group and later smudged with field recordings made everywhere from Iceland to California. In nine succinct scenes, the results loosely limn a wide sense of space and place with its fading harmonic auroras and glinting, half-heard surf rock melodies rendered in an abstract impressionist manner that suggests a fine tracing of in-between-spaces, perhaps describing metropolitan sprawl giving way to vast mountain ranges and oceanic scales.
In effect the album recalls the intoxicated airs of Pinkcourtesyphone (a.k.a L.A. resident Richard Chartier) as much as Andrew Pekler's sensorial soundscapes and even the
plangent production techniques of Phil Spector. But for all its implied sense of space, ultimately there's a paradoxically close intimacy to proceedings which feels like you're the passenger in Muir's ride, and he patently knows the scenic route.

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

Third pressing on transparent pink vinyl. At the 2018 edition of Roadburn Festival - a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands - two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo's Minami Deutsch and the legendary ex-Can frontman Damo Suzuki. With Minami Deutsch's heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging, raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second. At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch's playing is sharp and meticulous, Suzuki's stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming - the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that would change it forever. Some 45 years since Can's final record with Suzuki - the inimitable Future Days - and the spirit of that era still lives on. Not least because ever since then Suzuki has embarked on an endless one-man tour, traveling around the world and taking to the stage backed by countless different bands. Crossing paths at Roadburn, Suzuki's ensuing performance with Tokyo via Berlin-based group Minami Deutsch is now available to relive on wax.

Even in its moodiest, most downbeat moments there's a spark of energy
that bursts out of A Face In Your Life, the new album from Pet Fox.Where
past efforts played around with after-the-fact layering of instrumentation,
the band's third full-length comes alive in the moment
Tracked live in one room, without the use of a metronome, the ten songs that
unravel across the album capture Theo Hartlett (Guitar/ Vocals), Morgan Luzzi
(Bass), and Jesse Weiss (Drums) in their rawest, most immediate form. Touching
upon notions of anxiety and self-doubt, A Face In Your Life travails the depths of
these themes while also offering little snippets of hope and guidance along the
way. Indeed, the album's sprawling opening track 'Settle Even' is billed as a selfhelp pamphlet, a reminder to the band themselves and those listening that there
will always be people in the world looking out for us, even when that feels like an
impossible feat. An inspired collection of riffs that twists and turns into varying
shapes throughout, Pet Fox never outstay their welcome in the half-an-hour or of
A Face In Your Life but do more than enough to make the kind of impression that
leaves you wanting to journey back through the shadows, to unpick the little knots
of the ideas they're exploring here. It was brought to life by just three people in
one room but it lends itself to something way beyond that; the never- ending
search for coping mechanisms in the messiest of worlds.

“A Lucid Dub” and “Metronomik” get the remix treatment for the companion 12” to Louis’ Metronomik EP.

Diahgonal and John Beltran handle the a-side with masterful remixes of A Lucid Dub.
Santiago Salazar and Shawn Rudiman add their knowledge to the techno discussion with their remixes of Metronomik.

Boris Bunnik with a Vernon Felicity debut album! Days Of Leisure is a very well produced warm and analogue sounding house album. Think Metro Area vs. Larry Heard and you are almost there.. This is the sound of the summer and a future classic in the making.

What would it sound like if Ginger Root was asked to make the soundtrack to an American adaptation of a fictitious Japanese film from 1981 entitled, “街のやつ” (Machi No Yatsu) You’d get their new EP, “City Slicker” While the previous Ginger Root albums have had themes of introspectiveness and observations on past personal experiences, this upcoming release is the first collection of songs written from an outside perspective. The first collection of songs that live in a fabricated world. A short 19-minute escape to a metropolis that never was. Following a protagonist whose neighbors call him the “City Slicker”. On this EP, Ginger Root continues to pioneer their self-proclaimed genre: “Aggressive Elevator Soul”. By blending the bones and blueprints from the works of Yacht Rock and City Pop, with textures from the ever-evolving Bedroom Pop scene, glueing them all together fruitions something uniquely Ginger Root. One may argue that the best way to listen to “City Slicker” is not by vinyl, nor by cassette, but by VHS (if such a merch item were to be created). major label,

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

Twice Mercury Prize nominated, 5 time Ivor Novello nominated and
critically acclaimed, Everything Everything launch their new forthcoming
studio album 'Raw Data Feel'
On Raw Data Feel, Everything Everything set about revolutionising modern pop
music, with Higgs abandoning his own brain and letting technology do at least
some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the
teachings of Confucius into A.I. automation processes and using its responses
as a basis for the record's lyrics, song titles and artworking.
Produced by Everything Everything guitarist Alex Robertshaw and production
partner Tom Fuller (aka Kaines and Tom A.D), Raw Data Feel follows 2020's REANIMATOR which charted at #5 in the Official Albums Chart.
This new phase is a rapturous return and - staying true to form - sees the band
continue to push the ribbon on melody & rhythm with a heavy helping of
electronic exploration.

repressed !

Debut 12" from the Brooklyn based INNERMOODS label founded by JAMES DUNCAN, known as the trumpet player for METRO AREA and currently playing horns for LUKE SOLOMON and HORSE MEAT DISCO. 2 stomping and moody house tracks made for basement sessions. Hand stamped 1-sided limited 12"s.