Released in 1973 on Motown’s label, Share My Love is a richly layered and deeply expressive record that captures Gloria Jones at a creative crossroads. After years working behind the scenes as a songwriter and session vocalist, penning material for The Tams, The Marvellettes, and others, Jones finally takes center stage with a collection that radiates confidence, vulnerability, and undeniable soul.
Known to many for her original 1964 version of “Tainted Love,” later immortalized by Soft Cell, Jones brought to Share My Love a seasoned understanding of both the heartbreak and hope that lie at the core of great soul music.
More than just a product of its time, Share My Love feels like a declaration, a turning point where one of soul’s great, often-overlooked voices stepped into her own light. It remains a moving document of artistic self-assurance and one of the most heartfelt releases to emerge from Motown’s early ’70s era.
As far as disco bangers go, they don't come much better than 'To Be With You Again'. The shock is hits is actually a brand new tune on a new label rather than an unearthed old gem. It's a heart-swelling sound with symphonic strings and swooning energy all finished in magnificent style by the stunning vocals from the Choir of Angelic Disco Angels. Getaway Jones adds the tight bassline and some superb keys to make this a must-cop 12" this is guaranteed to fly off the shelves. An instrumental on the flip is just as moving, but it's the vocal-fuelled A-side that really soars.
DJ Support: BEN UFO, Solomun, Marco Carola, Damian Lazarus, Jamie Jones, Joseph Capriati, Ilaria Alicante, Michael Bibi, Paco Osuna, D'Julz, Groove Armada, Dennis Cruz, Chloe Caillet, Kettama and many more
Enzo Siragusa opens 2026 with his ‘Kilimanjaro Sound’ EP, a release that expands on last year’s standalone single. Marking both Enzo and FUSE’s first drop of the year, the EP delivers the latest instalment in his longstanding Kilimanjaro concept while reaffirming the label’s position at the heart of underground club culture.
Following the digital release of ‘Kilimanjaro Sound’ back in October, the full EP frames the title track within a broader narrative of rhythm, atmosphere, and movement. A long-time fixture in Enzo’s sets throughout 2025, the title track established itself as a fan favourite through its rolling percussion, weighty low-end, and expansive spatial design, and now it takes on renewed presence on vinyl. New cut ‘Liquify’ pushes deeper into Enzo’s rhythmic sensibilities, pairing fluid groove structures with subtle tension and release. Designed for late-night floors, the track unfolds patiently, allowing swing, texture, and space to do the heavy lifting. It’s a natural continuation of the Kilimanjaro language, less about immediacy, more about immersion, showcasing his refined understanding of how momentum is built and sustained in true club environments.
Completing the EP is a remix from Giammarco Orsini, whose Garage Dub Mix of ‘Kilimanjaro Sound’ offers a fresh perspective while remaining true to the original. Born in Italy and now based in Berlin, Orsini has quietly evolved into one of the scene’s most respected selectors and producers, with releases on Cragie Knowes, Mood Waves, and Shonky’s Stoned Pilot. His interpretation strips the track back to its essentials, reintroducing it through a garage-leaning lens that prioritises groove, swing, and subtle pressure.
As the first release following FUSE’s latest DJ Mag Best of British Award, marking their second Best Club Event win, the EP reflects the values that have long defined the brand: community, longevity, and music built for real dancefloors. Pressed to wax, the release extends one of Siragusa’s most recognisable concepts and sets the tone for the year ahead - measured, confident, and rooted in the underground.
Indiana Jones never dug this deep.
Church – the brainchild of Joe Washington – were a band both lucky and cursed to come up in the seventies. Lucky, because they rode a wave of community activism, uplifting messages and a moment when music truly mattered. Cursed, because those same times meant their tight, heartfelt output went overlooked.
Mid-sixties to circa 1980 soul and funk were extraordinarily rich. The era’s big releases have aged like fine wine, yet countless hidden gems remain buried. Church’s only single was one of them. Their hypnotic 1976 release “How Long” b/w “Da Da Song” arrived the same year as Stevie Wonder’s Songs in the Key of Life, Marvin Gaye’s I Want You, Diana Ross’s Diana, and at a time when Black mainstream music was shifting toward disco. Church, however, sounded like Sly & The Family Stone in an alternate timeline — gritty, focused, stripped of additives.
“Da Da Song” is pure grits and gravy: furious, tight drums and lyrics that sound like both a plea to DJs to play their record and an insistence to keep the party alive, noticed or not. It cooks from start to finish in just two and a half minutes.
“How Long” is its own universe. Where “Da Da Song” is skeletal, “How Long” blends key strands of Black music in under three minutes: touches of spiritual jazz with a Gary Bartz-like sax, gospel-blues undertones, and echoes of the era’s flower-power-tinged Black creativity — The Undisputed Truth, The Family Stone, even the poetic freedom of Nikki Giovanni. The lyrics are a timeless plea for love.
Church formed in the Bay Area in the early seventies, shaped by the movement, culture and activism of the time. Joseph Washington, based in San Jose, never chased a music career — for him, music was a way to bring people together. Before Church, he led a backing band called Wash, then added gospel singer Linda Williams (née Stephens) and New York–born Joel Como on xylophone to complete the group.
They rehearsed in Joe’s garage, spread through word of mouth and played every gig they could: Black colleges, opening slots for The Whispers, neighbourhood house parties. Some members studied at Nairobi Junior College in East Palo Alto, then a hotbed of Black community activism, with revolution in the air and messages woven naturally into the music.
This single is a message from that era, resurfacing at last — ready to be sampled just as another Joe Washington track, “Look Me in the Eyes”, was on Drake and J. Cole’s “First Person Shooter”. These rare, spirited tunes are begging for new life through samplers, again and again.
Hot Creations Summer Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.
Straight from the heart of Amsterdam’s vibrant club scene, PIV founder Prunk and RED 87 offer up a first-time collaboration with ‘Express’, bringing together lush synth pads, simmering hi-hats, and echoed vocal snippets, crafting a warm, hypnotic energy that reflects the pair’s signature sound. Next up and hotly tipped DJ/producer Rafael linking up with fellow countryman Mishell, whose psychedelic take on House and Indie Dance, together, they make their label debut on Jones’ Hot Creations with ‘Naughty’, bringing a fresh burst of House energy as they blend their distinctive styles.
On the flip and a name ascending from the Netherlands’ thriving house scene, Easttown makes his debut on ‘Rocking To The Rhythm’ which sets the pace with tight drums, grooving bass, and a clear-cut sense of movement. Hooky as hell. Finally rising Dutch talent Jamback has been turning heads with his energetic style, earning support from house music heavyweights like Toman, Chris Stussy and East End Dubs. ‘Is That OK?’ is a cheeky infectious slice of hot house pie!
“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.
Everyone knows the story of American disco. But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.
It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future. Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines. A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.
This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage. Because dancing today remains, more than ever, a living act of memory.
Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.
f Grazia Vitale – Poi (1975) Previously Unreleased
q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased
f Grazia Vitale – Poi (1975) Previously Unreleased
q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased
f B2. Grazia Vitale – Poi (1975) Previously Unreleased
q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]
[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]
[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.
The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.
Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.
Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.
Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.
Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.
On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.
Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.
Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.
“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.
Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.
DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu
For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.
In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.
With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.
Hot Creations Autumn 2025 Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.
When Jamie Jones and Nicole Moudaber first collaborated on Hot Creations in 2020 with ‘Pepper Shake’, five years on, the pair return with ‘Where All My People’, a powerful anthem that merges Jamie’s signature groove-led style with Nicole’s unmistakable drive and energy. The record is further elevated by the infectious vocals of London-based duo House Of Molly, ‘Where All My People’ is a celebration of rhythm, anchored by a rolling bassline and crisp percussion that form a tight, understated groove. House of Molly’s commanding vocal hook runs through the track like a thread of energy, adding a human touch that feels both intimate and anthemic. Marking his second outing on Hot Creations, OMRI. is back with ‘Release The Pressure’, a pulsating, groove-driven heater made for full-throttle moments featuring Benny Ola on vocals. Crisp percussion, hooky vocals, sharp synths, and low-end pressure come together in a track that simmers with controlled intensity.
On the flip Joshwa makes a much-anticipated return to Hot Creations with ‘Lost In Music’ which reimagines a timeless disco classic through a contemporary house lens, delivering textured percussion, sparkling funk-laced synths, and an infectious groove that captures the euphoria of sweat-drenched dancefloors.As Hot Creations celebrates its 15th anniversary in 2025, label co-founder Lee Foss makes a long-awaited return to the imprint for the first time in half a decade with a powerful new collaboration alongside Colorado based talent GS5. ‘In The Ghetto’ hits with low-slung swagger and vibrant vocal energy, channelling a bass-heavy strut and hypnotic vocal loops that nod to early Hot Creations flavours while pushing into contemporary terrain.
In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.
John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.
Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.
Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.
The third installment in Lance Ferguson's acclaimed Rare Groove Spectrum series builds on the success of Vol. 1 & 2, offering a fresh set of reimagined classics. From '70s Australian jazz-funk and Latin-fusion to big band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.
Standout cuts include bold reworks of Idris Muhammad, Billie Eilish, Jungle, Billy Brooks and more, with the focus track "Losalamitoslatinfunklovesong" delivering a Gene Harris reinterpretation infused with Bossa Nova and Brasil '66 flair. Showcasing Ferguson's mastery as a multi-instrumentalist and arranger, the album brims with rich, cinematic productions throughout.
Selling Points
Known for projects The Bamboos, Menagerie, Lanu — widely regarded as one of Australia's most versatile producers.
Previously released 45 full-length albums and 100+ singles/remixes across labels including Atlantic, Universal, Sony, BMG, Tru Thoughts, and Ubiquity.
7× ARIA Award & 5× APRA Music Award nominations.
Co-writer/producer of the global hit "This Girl" by Kungs vs Cookin' On 3 Burners
#1 in 10+ countries
1.27 billion Spotify streams & 545M YouTube views
Multi-Platinum & Diamond certifications worldwide.
Collaborations with Aloe Blacc, Roy Ayers, Alice Russell, Durand Jones, Quantic, Joey Dosik and more.
Music featured in 200+ compilations and major syncs, including CSI NYC, Grey's Anatomy, Homeland, Suits, and House of Cards.
Releasing four of the biggest dance tracks of 2018 and crowned as the #2 Beatport Artist Of All Time, Dresden born disco-house producer Purple Disco Machine has quickly become one of the most prolific and sought after producers in the industry.
Following on from the hit single ‘Dished (Male Stripper)’, Purple Disco Machine returns to his club anthem ‘Body Funk’, teaming up with industry icons Carl Cox, Claptone, and Australian rising star Dom Dolla, serving up this mammoth 'Body Funk' remix EP.
DJ Support:
Black Madonna, Jamie Jones, Fatboy Slim, Annie Mac, Pete Tong, Danny Howard
La Rama’s club ready sub-label RamaJam is back after a long stretch with 6x new traxx for the dance. Introducing for the first time on record, two Montréal duos that have been rocking the city for the last few years.
The Wet Steppahz are Boogaloo Jones & Pitza Dave, young producers extraordinaire, engineers at local studio Breakglass, live PA performers and organizers of the 140/160 party series. You can also find Boogaloo every weekend laying it down with the Fella’s Q-Tips & Curls crews. Young guns on the come up, be sure to follow their label STEPPATRAXX for some hot fire.
DAPASHU? is the meeting of veteran producer Shash’U & long time local DJ, promoter and studio fiend Dapapa. A quick lookup on Shash’U will have you inundated with originals and versions for you to drop at any jam. A mainstay at dance competitions, a regular feature of institution Loop Sessions, and always ready to share a tip from his production tool kit. Dapapa gets busy on the regular at venues around the city & heads both the Ol’Jack Nu Jack organization and DASA (a Montréal production suite bridging local and international likeminded artists). A fellow who takes no tune for granted.
Musically we make it easy, 3 cuts per side, representing each crew’s essence. No need to describe each tune, listen in and take notes on the mood + we laced you with those BPMs on the label so you can throw them in to the mix at any moment, no stress!
Mastered and cut in the city by our man Cristobal Urbina. Pressed in Canada & distributed from our brick and mortar shop located at 77 rue Bernard O, Montréal QC, H2T 2J9.
PS Props: These tunes were selected from recordings of the Steppahz and DAPASHU? playing live for a Seer Records party at Osmo x Marusan in April 2024… Big shout out to Emiliano & Maximum Enemi <3
SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.
Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.
‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.
Out during the pandemic, the first Dora Exp 12″ has built a steady and strong cult since then, even exploding in house music’s birthplace Chicago when the slo-mo acidic house of “Hi Power” caused a little storm thanks to Darryn Jones, Mark Grusane and Nosha Luv playing it.
Now Andrea Passenger is back with more uncompromising excursions in outer house, leftfield acid and crunchy sampledelia.
Side A brings “The Blues”, a serious house stomper both spacey and melancholic and “Clapper”, a fierce and alien boogie slapper. B Side introduces “Diamonds”, a rolling sci-fi / jazz hybrid with freeform live sax and keys, and closes with “Black and Green”, a driving house groove featuring an addicting acid bassline and precise drum programming.
All tracks were mastered by José Rico who brings some extra fattiness to the tunes.
Needless to say, these are serious grooves for the most demanding djs out there!
DJ Support: Mau P, Jamie Jones, BLOND:ISH, Noizu, Bob Sinclar, Martin Garrix, ACRAZE, Steve Angello, Kaskade, CID, Bob Sinclar, Afrojack, Oliver Heldens, Nicky Romero, MK and more.
Toolroom’s latest vinyl offering sees 3 big releases from label favourite, Tony Romera. For what is arguably his biggest single to date and brimming with feel-good 80s flavour, Time To Move has been on repeat for Tony at every show. LFO kicks of the b-side and showcases Tony’s trademark tough drums and low-slung bass line, resulting in another dancefloor weapon. The quirky Dance Naked rounds off the EP with an unmistakable rolling, tech groove, hooky synth stabs and hooky vocals on top.
Hilit Kolet and The Illustrious Blacks team up for the ‘Transatlantic Kiki’ EP. Dropping on Rekids late August, the package is remixed by Floorplan.
London-based artist Hilit Kolet returns to Rekids, collaborating with New York’s The Illustrous Blacks, the project formed by Manchildblack and Monstah Black, for the ‘Transatlantic Kiki’ EP, landing 29th August 2025 via Radio Slave’s Rekids. Legendary father-daughter duo Floorplan remix the single, with the release following up Kolet’s 2024 ‘Snap Talk’ EP, which won support from artists like Dam Swindle, Chloé Caillet, Bradley Zero, and more.
With lyrics that connect London and New York, ‘Transatlantic Kiki’ is a tough, funk-fueled roller true to Hilit Kolet’s signature production style, infused with an unmatchable personality via The Illustrous Blacks’ playful, vogue-like vocals. It’s hypnotic, bold, and irresistible, with the pair supplying a loopy ‘First Class’ mix that introduces vocal elements not featured in the original, amplifying the track’s qualities to hit even harder, and works the dancefloor into a sweat.
Robert and Lyric Hood, known together as Floorplan, remix Hilit Kolet & The Illustrous Blacks’ ‘Transatlantic Kiki’. Equally infectious as the original, they transform its rhythm into a drummy late-night cut. Stabs and vocal chops ride the groove, culminating in a proper lose-yourself-in-the-dance House cut that also comes with an instrumental version.
London’s Hilit Kolet came up through the former Soho Black Market Records shop, and has since become synonymous with the city’s House scene via releases on Defected, Snatch!, Domino, and Rekids, with a #1 debut on Music Week’s Upfront Club Chart and support from BBC Radio 1, Jamie Jones, HAAi, Skream, and more. NYC duo The Illustrious Blacks, comprising Manchildblack and Monstah Black, blend Afro-Electro, Funk, Disco, and House across releases on Soul Clap, Classic Music Company, and Defected, as well as collaborations with artists such as Osunlade, DJ Minx, Seven Davis Jr., and David Morales.
Mother Recordings is back for summer 2025 with a bang! Get ready for a lineup bursting with exciting releases, features, and remixes starting this August.
We are thrilled to introduce Nesi, Catalonia's hottest female export and a rising star in the electronic music scene. This time, Nesi teams up with New York house legend Mr. V for a collaboration you won't want to miss. Their track, "Feel Blessed," is destined to become a classic, featuring a monster bass line groove and infectious vocals from Mr. V himself.
This awesome 4 tracker EP comes also with some other dope collaborations as Scotty Cal, Garry Todd ft. Queen Rose, C´mon, Nhan Solo, Otistic ft. Lyric Christian and Mark Maxwell ft. Steve Obsidian.
Tracks are heavy supported and played by Matthias Tanzmann, Piem, Franky Rizardo, Jamie Jones, Claptone, Cassimm, Junior Sanchez and many more.
Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favourite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon.
From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-80s boogie vibes. There’s heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors’ versatility and happy knack for blending genres whilst crafting unforgettable melodies.
Irresistible thumper “She’s Gone” opens the album with a dyno-Rhodes electric piano groove and a seriously thick boogie-funk rhythm. Lush string accents and horn stabs weave through the funky bassline, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. Living up to its name, the shimmering “Party Town” brings deep Electro-Funk Energy by layering bubbling synth bass and shiny lead synth lines. The groove is downright addictive, a brisk, brass-kissed jam that implores you to move. Up next, the sophisticated funk of “Keep Doin’ It” is a low-slung post-disco glider, propelled by a sleek vibe, leaning into the late-night boogie sound. Funky guitar, tight drumming (with Connors’ jazz-honed chops in the pocket) and smooth vocals urge you to “keep doin'” whatever it is that's working. “Stay with Me” works a bit of island flavour into the mix, riding a thick Caribbean groove complete with tropical percussion and an upbeat tempo that could almost be calypsoul. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors’ willingness to experiment with global sounds while keeping things soulful and danceable.
Side B opens with the sassy funk-deluxe workout, "Anyway You Want" dripping with that soulful strut. Bringing a real quiet storm swagger, “Sing a Love Song” slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial “Love’s In Your Corner” is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. The refined, jazzy instrumental “Mr. C” is a slinky, smooth, funk-filled mid-tempo groove, with sax and warm keys gliding effortlessly. Connors combines jazzy arrangements into the post-disco/boogie framework one last time, and the result is sublime. It’s sophisticated and cool and, as a finale, “Mr. C” wraps up the album in classy style.
On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.
MOVE TRAX, label forged from Tokyo's event series MOVE ムーブ that since 2022 has consistently showcased in Asia pivotal figures in electronic music scene such as Alex Neri, Fantastic Man, Massimiliano Pagliara, Liquid Earth, Chloé Caillet, Bradley Zero, Secretsundaze, Giammarco Orsini, Gonno, Known Artist, proudly unveils its inaugural release: TOKYO LIPSTICK. This sonic odyssey is crafted by the label's Italian-born, Tokyo-resident founder, Al Jones, who masterfully synthesizes the sun-drenched euphoria of '90s Mediterranean sounds with the kaleidoscopic dynamism of his Japanese sojourn. From the futuristic synthscapes reminiscent of classic video games to the pulsating vocal tapestry of Shibuya Scramble Crossing, the world's most vibrant intersection, Al Jones distills disparate influences into a cohesive and compelling narrative. Supporting this seminal debut are remixes from Berlin-based UK artist Running Hot, renowned for his distinctive contributions to esteemed labels such as Love On The Rocks (LOTR), Certain Music Records, and Permanent Vacation. Complementing this, rising Japanese talent Paperkraft, hailing from Osaka, brings a fresh perspective, building significant momentum from the Land of the Rising Sun with releases on Physical Education and HOMAGE Records with his tracks remixed by Aldonna and Aiden Francis.
In 1983, Chateau, a San Francisco based boogie funk band, won the KRE Radio Hot Fun In The Sun Battle of the Bands in Mosswood Park, Oakland. As a prize, they received $5000 (approximately 8 hours) of studio time and a pressing run of 200 45s.Chateau included Alan Ross on lead vocals and percussion, singer Damara 'Candy' Stepney, and Kevin Dailey who sang and played saxophone, bass, and guitar.
Melvin Jones was on horn and keys, Dennis Knepper played keyboard, Frank Lemon played drums, Lemon's cousin Michael Clark played rhythm guitar, Doug Hearne played guitar and Bill Ortiz (from Santana) contributed trumpet parts.Chateau only released one 7-inch single in 1984, but to this day 'Feelings' is, arguably so, one of the most sought-after West Coast slices of funk.Jerome Derradji and Past Due Records are proud to officially reissue this incredible slice of boogie. Originally released in 1984 on Quiet Storm Records, San Francisco.
Efficient Space honours trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. Evolving from Andrew Penhallow’s time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor’s blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will.
No Volition retrospective would be complete without Sisters Underground’s intergenerational anthem ‘In the Neighbourhood’. Otara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R&B with a clarity that outshone its overseas counterparts. The quiet architect of Volition’s sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996.
Its A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia.
Further cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane’s Edwin Morrow and Cherryn Lomas. ‘This Is A Dream’ was recorded exclusively for High (A Dance Compilation), the first all-Australian V/A to top the ARIA charts, propelling the local movement into national consciousness.
Closing the sampler, Sydney’s Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie ‘Fall’ is reimagined by Stuart Crichton and Apollo 440’s Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label’s relentless push into new terrain.
Volition Cuts Vol. 1 is dedicated to the loving memory of Volition’s visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.1
Releasing four of the biggest dance tracks of 2018 and crowned as the #2 Beatport Artist Of All Time, Dresden born disco-house producer Purple Disco Machine has quickly become one of the most prolific and sought after producers in the industry.
Following on from hit singles ‘Dished (Male Stripper)’ and 'Body Funk', Purple Disco Machine returns with his double A-side Emotion EP.
DJ Support:
Black Madonna, Jamie Jones, Fatboy Slim, Annie Mac, Pete Tong, Danny Howard
Previous single 'Body Funk’ already clocking 12 million combined streams and #1 Beatport and #1 DDC & DCC Chart
‘Dished (Male Stripper)’ spent 10 Weeks on BBCR1 Daytime playlist, including 4 weeks on A-ist making it the #5 Dance Record of The Year on BBCR1
Official releases with Fatboy Slim, Calvin Harris & Rag’n’Bone Man, Jax Jones, RÜFÜS DU SOL
Label owner Nhan Solo is back to his own imprint Mother Recordings with a massive House bomb! This time entitled a beautiful collab track "Do You Feel It" with the amazing DiVine from Amsterdam. The Ep includes three other awesome cuts by Alaia & Gallo, Denis Ago and Blaqwell ft. Curtis Richa of Brobot Records New York. All time classics on one vinyl, enjoy fam!
Tracks are heavy supported and played by Jamie Jones, Marco Carola, Danny Tenaglia, Claptone, Nic Fanciulli, Mark Knight, Cassimm and many more.
INDEPENDENT RECORD SHOP AND LABEL KLANG TONE RECORDS RE-ISSUE DEBUT ALBUM BY 8 PIECE INSTRUMENTAL EHTIOPIAN JAZZ/AFRO-BEAT/PROG COLLECTIVE;
TEZETA
“Absolutley gorgeous from start to finish…”
- Deb Grant, BBC 6 Music
“An instant obsession. Impeccable rhythms and hypnotic melodies—Tezeta crafts a spellbinding fusion of Addis and Avon that takes you on a journey."
- Don Leisure
“Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures”
- Matt Temple, Matsuli Music
'Formed in Bristol back in2014 Tezeta were an experimental 8 piece instrumental group effortlessly combining Ethiopian jazz, Afrobeat, prog and improvisation. The band spawned out of the much loved Bloom Collective - a collective of musicians and friends from an experimental corner of the city’s buzzing music scene.
Led by composer, pianist and bandleader Daniel Inzani (Spindle Ensemble, Cosmo Sheldrake) the band also featured tenor saxophonists Andrew Neil Hayes (Run Logan Run) and Lorenzo Prati (Count Bobo, the Evil Usses, Itchigo Evil), Harriet Riley (Spindle Ensemble, Paraorchestra) on Marimba, vibraphone and percussion, Pete Gibbs (Count Bobo) on bass, Conrad Singh (Alabaster dePlume, the Evil Usses) on electric guitar and finally two(!) drummers Matthew Jones (The Brackish, Slate Trio) and Daniel Truen (Yama Warashi, The Evil Usses, Rozi Plain, Count Bobo).
They initially got together to play music from ‘The Ethiopiques Volumes’, in particular, the work of Mulatu Astatke, hence the name Tezeta (Ethiopian for nostalgia) but quickly evolved into their own style with all original material, incorporating many other influences along the way. Their much loved, debut album 'Seventh Place' was released in Sept 2016.
“We at Klang Tone have been admirers of Daniel Inzani’s work with Spindle Ensemble and I was fortunate to catch Tezeta perform before they disbanded. I bought one of the last available copies of their home released cdr at their gig at local Stroud venue The Prince Albert. It became a firm favourite - a recording I keep playing and never got tired of. It’s such a beguiling mix of styles - always evolving and resolving in different ways to what you might expect - some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist with Daniel’s evocative melodies at the centre. I was convinced this was a recording that deserved a bigger audience and felt it needed to be heard on vinyl so I started a conversation with Daniel about releasing it on Klang Tone as it perfectly encapsulated the raison d'être of the shop and label. We didn’t want this recording to languish online barely listened to - I felt it was in danger of becoming a lost classic. I hope that this vinyl release is a worthy testament to this great band and helps draw attention to the creative genius of composer Daniel Inzani and the talented ensemble of players featured on the recording.” - Sean Roe, Klang Tone Records
Tezeta had a cult following among other musicians and were known for their wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, and subsequently released an EP named ‘Curious Bubble’ in 2020.
In 2023 Tezeta performed a sold out final show at Strange Brew, Bristol as Inzani decided to pursue solo releases, notably his critically acclaimed triple vinyl album ‘Selected Worlds’ released on Hidden Notes Records which landed in the Guardian Top 10 Contemporary Albums of the Year in 20204. The third disc ‘Play’ was a clear continuation and development of the music Inzani had developed with Tezeta and featured many of the same musicians.'
The cover image is from ‘Project Rewind’, a double exposure photography collaboration between Karen Dews and Paul Blakemore.
Graphic design by Adam Hinks.
Hologram Teen is the solo project (and anagram) of former Stereolab keyboardist Morgane Lhote. Her colourful playful songs are heavily influenced by disco and 80s French pop.
Initially from Paris, Morgane relocated to Los Angeles where she concentrated on her solo material. Captain Fluo is a disco-fuelled love letter to 1980s Paris and its underground nightlife, record store discoveries and the exhilaration of growing up as a gay teenager in a world of self-discovery.
Produced and mixed by Andrew Claristidge (Acid Washed) at Duca Sonora Studios in Brittany Captain Fluo is a vibrant fusion of propulsive beats, bouncy synths and funky basslines. Morgane’s signature keyboards weave through a constellation of guest vocalists including Sandra Zettpunkt, Maxwell Farrington, Eric D Clark and Alex Aikiu. From the euphoric pulse of ‘Lust Pill’ to the radio crooner nostalgia of ‘Fréquence Gaie’ each track is a portal to the dance floors and late-night airwaves of a bygone era.
Drawing inspiration from French pop icons like France Gall, Michel Berger and Louis Chedid alongside the sleek productions of Italo disco pioneers Kasso and the genre-defining touch of David Bowie, Nile Rogers, Quincy Jones and Depeche Mode, Captain Fluo is a heartfelt ride through an era when music was liberation.
Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.
On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).
Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”
Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.
In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome
The fifth album from H. Hawkline (Huw Evans), ‘Milk For
Flowers’, is released via Heavenly Recordings.
Following the 2017 album, ‘I Romanticize’, and 2015’s ‘In
The Pink of Condition’, the album was produced and
features musical contributions from long-time collaborator
and celebrated solo artist Cate Le Bon. Artwork is
designed by H. Hawkline.
Recorded at Rockfield Studios in Monmouthshire, the
album features a host of musical collaborators - Davey
Newington (Boy Azooga) on drums, Paul Jones (Group
Listening) on piano, Tim Presley (White Fence, DRINKS,
The Fall) on guitar, Stephen Black (Sweet Baboo) and
Euan Hinshelwood (Younghusband, Cate Le Bon) on sax,
Harry Bohay (Aldous Harding) on pedal steel and John
Parish (PJ Harvey, Aldous Harding) on infrequent bongo.
The record was then engineered by Joe Jones (Aldous
Harding, Parquet Courts) and mixed, after an unlikely and
fortuitous crossing of paths, by the Grammy-nominated
Patrik Berger (Charli XCX, Robyn, Lana Del Rey), and
mastered by Heba Kadry (Deerhunter, Cass McCombs,
Cate Le Bon).
‘Milk For Flowers’ is at once visceral and enlightened, its
soundscapes verdant yet delicately rendered, and with this
latest, most intimate work, H. Hawkline bares his blood,
bones and soul beautifully. And quietly, along with the
entrails and rubble held in ‘Milk For Flowers’’ reliquary,
there hides a small, green kernel of life; hope, perhaps,
that today’s decay might nourish tomorrow’s blooms.
Available on CD and LP with rigid ‘tip-on’ sleeve with antiscratch matt lamination and digital download code.
Up next on Open Space is the first installment in a new series of 12 inch records for DJs titled ‘Open Space Club Tools’ - as the name suggests, you’ll find a variety of tools handmade by our favorite producer-DJ’s. Sticky drum beats and tricky rhythms for the nearly-extinct club deejay.
OSCT01 features Benedek, and John Jones as ‘Calvin’ representing our LA-MIA connection, Lachlan McGeehan aka ‘Liluzu’ from Australia, and of course our Miami boy Goiz; once as himself on the A-side, and again on the B-side under his newest percussion-focused alias ‘Glue Boy’. A mixed bag of hammers, nails, screwdrivers and more… All greased up and ready for whatever the club world may bring your way.
360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.
Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku
Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.
The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.
The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)
"The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.
‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.
The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone."
The NOW Yearbook series continues with the ultimate soundtrack to one of pop’s most dynamic years: 1998 - out February 14th! This collection brings together the biggest and most iconic tracks from the year, presented across three stunning coloured vinyl discs, pressed in neon violet with 43 tracks from the era and two CD editions available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 80 featured tracks that capture the unforgettable sounds from the year. Whether you’re reliving the hits or discovering them for the first time, this collection brings you the best from the singles charts of 1998.. Whether you're revisiting these unforgettable hits or discovering them anew, NOW - Yearbook 1998 brings you the best from the singles charts of 1998!
4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.
Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.
‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.
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.
