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After scoring a surprise hit in 2006’s red-hot 7” funk market with their cover of “C.R.E.A.M.,” El Michels Affair quickly turned around another smash 7” double-single of re-imagined takes of the Wu-Tang Clan. “Duel of the Iron Mics” sees the hypnotic piano hook of the “Liquid Swords”-classic elevated to intriguing heights with dramatic strings and Catch the blast of a hype version on the b-side, where “Bring Da Ruckus” is brought to life in imaginative ways not hinted at on the bulletproof original. The raw sample stabs and sub-bass of the stripped-down Wu-Tang stunner are replaced with mind-bending bass notes, and the re-played organ hook turned way up.

Both of these tracks would eventually feature prominently on El Michels Affair’s landmark LP “Enter the 37th Chamber,” celebrating its 15th Anniversary in 2024.

2024 Reissue

Rare, spiritual and groovy, this is the ultimate live album, the pinnacle of the spiritual jazz scene! Detroit's proud drummer Roy Brooks' epic blackness is back!

Hardcore craftsman artist and drummer, who began his career in the 50s and remained at the forefront of the scene until his death in 2005, starting with the Horace Silver Combo in the early 60s and continuing with bands such as Stanley Turrentine, Youssef Latief and Charles Mingus. Roy Brooks. The drummer, who also played on Detroit's Wenden Harrison albums and was part of Max Roach's renowned M'boom project, recorded this live performance in NYC in November 1973 under the name The Artistic Truth, a group he led in the early '70s. Recorded live in NYC in November 1973 under the name of The Artistic Truth, this album easily surpasses the Baystate release in terms of quality and density. The band featured Reggie Workman (b), Olu Dara (tp), Joe Bonner (p), Cecil Bridgewater (tp), Sonny Fortune (as) and other prominent black musicians, with Eddie Jefferson joining on vocals on two tracks. This is a live document of five songs and 48 minutes of spiritual soul, packed with the raw, unrelenting groove of spiritual jazz from this era

2024 Reissue

Released on the famed tax scam label Tiger Lily in 1976, Sounds Of
The City Experience's self-titled debut album is a rare groove treat with original pressings often reaching astronomical figures on the second-hand market. Its quality carries over into the sound with its richness of character pushing beyond what must have been a very limited recording budget. The members, whose anonymity today stands in stark contrast to the instant fame they generate on the record, go from strength to strength across these ten tracks, and craft some of the most catchy and enticing soul and funk of the 70s. P-VINE is excited to be reissuing the album for a limited edition LP package with an iconic Japanese obi strip attached.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

Veyl is pleased to welcome Velvet May for his debut LP on the label. Enchanted By The Muse marks a new and exciting direction for the Italian-born, Berlin-based artist whose aesthetic focuses on post-punk, techno and industrial music. This album embodies May’s exploration and experimentation of various musical directions, reflecting a fusion of industrial, rock and electronic elements. It also symbolizes a new approach, spanning genres and styles and exploring his sound from every angle.
Conceptually, the album reflects a realm of emotional dissonance in an industrial desolation - where harsh electronic textures mingle with gritty industrial and rock elements. Also present are echoes of punk's raw energy and adrenalinic drive, a musical journey through shifting moods and atmospheres, serving as a soundtrack to different aspects of life and capturing the essence of its high and lows.
From the opening track, “Now That You Have Left It All”, we are lured into a thrilling sonic dimension with a shot of energy that sets the stage for journey ahead. “Keep On Falling” injects a dose of rock which we find throughout the record fused with the artist’s signature blend of postpunk, industrial and techno strains. Tracks like “The Outsider” and “Slithering Serenade” conjure raw, distorted rhythms and a menacing fuzz which bleeds out of the speakers while “Scales of Gold” traverses back through infectious body and wave. “Illusion In Control” is the perfect climax, a musical assault that shatters boundaries and blurs the lines between reality and fantasy.

WE DON'T TRUST YOU feierte die historische Partnerschaft zweier kulturverändernder Legenden auf dem Höhepunkt ihrer Kräfte und brachte das Internet fast zum Beben. Die neueste Zusammenarbeit von Future und Metro Boomin ist die Fortsetzung eines musikalischen Vermächtnisses, das bis zu "Karate Chop" zurückreicht, einer elektrischen Single aus dem Jahr 2013, die das dynastischste Hip-Hop-Duo der 2010er Jahre hervorbrachte. Mit Tracks wie "Jumpman" (mit Drake) aus dem Jahr 2015 und "Mask Off" aus dem Jahr 2017, Singles, die zusammen von der RIAA mit 14-fachem Platin ausgezeichnet wurden, haben sie ihre Verbindung weiter gefestigt. WE DON'T TRUST YOU enthält den Track "Like That" feat. Kendrick Lamar sowie weitere "A-List"-Gastbeiträge.

Gorgeous pop covers of Taylor Swift & Loreen, from Jeff Goldblum and the voice of Haley Reinhart on brand new 7 inch die-cut vinyl product. Stunning versions of these popular tracks with a classic Jeff twist!

On their second album, Winter Pageant, The Softies move forward with focused delight. It's the combination of Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze, Go Sailor) that molds The Softies' panoply: feathers and thorns, fawn and fearless, fable and friction. Originally released in 1997, Winter Pageant is the drama of utter melancholia documenting the broken promises, missed phone calls, conversations stalled, love lost. Colossal tasks recorded two guitars deep, forming a new Iliad, chapters on brave deeds and the power of love on the move. You can live for love, or you could live for the splendid cascade of guitar on guitar, voice over voice: The Softies. Winter Pageant was recorded by Stuart Hallerman (Soundgarden, KARP) at his Avast! recording studio in Seattle, Washington.

Transparent yellow with black and red splatter, limited to 700 copies. SUMMONING THE LICH return this summer with the latest installment in their fantasy universe of technical death metal. The St. Louis, Missouri band's forthcoming second album, Under the Reviled Throne, is set for release via Prosthetic Records on July 26. Following the events of their established world of Arrias on their debut album, United In Chaos, Under the Reviled Throne sees the next chapter of the Lich come to life through tales of isolationist kingdoms, malevolent mages, witch queens and cannibalistic armies hellbent on destruction. After three years of extensive US touring and shows with the likes of Allageon, Gorod and Inferi among others, as well as headline stints, SUMMONING THE LICH set about bringing Under the Reviled Throne to life. Intended as a death metal equivalent of sorts to The Empire Strikes Back in scope, the group set their sights on raising the stakes in both story and songwriting. Recorded throughout 2023 at Sicktones Studio with Jack Daniels, SUMMONING THE LICH took the considered approach of eschewing superfluous technicality in favor of a leaner and more streamlined focus on song structure. Each of the tracks on Under the Reviled Throne were written with the purpose of guiding the listener through the eponymous Lich's descent into misanthropy and tyranny, without sacrificing their idiosyncratic sound.

Torae and Marco Polo return with their sophomore release, Midnight Run, the follow-up to their classic debut album Double Barrel. Midnight Run packs 11 tracks that will instantly satisfy fans of the elite lyricism and hard-hitting production the duo is known for. The intro, “Reloaded,” sets the tone from the very beginning, and stand-outs such as “The Return,” “Makin’ Up,” and “Oh No” maintain the momentum throughout. With no guest verses, no bars off, and no filler, Midnight Run gets directly to what you’ve been waiting for from the “Gray Sheep,” Torae and Marco Polo.

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)

Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

2 box design options
Includes faithful reproductions of 17 issues of the legendary TRIBE MAGAZINE
Limited serial numbered edition
Deluxe editions of all three versions of A Message From The Tribe housed in special edition gatefold jackets with OBI
(LP+7") + (LP+10") + (45RPM 2LP)
Includes the world’s first analog pressing of recently uncovered instrumental tracks
180g heavyweight vinyl!
A poster featuring album and magazine artwork
(The back side is TRIBE x Pharoah Sanders or Herbie Hancock from Tribe Magazine.)


Detroit, 1972. The events of one of the most violent riots in American history were still fresh in the minds of Detroit citizens when Wendell Harrison and Phil Ranelin formed the pioneering jazz collective “Tribe”. First compiled by P-VINE in 1997, with a following reissue project, Tribe’s discography would see a re-evaluation from the club music scene, followed by long-deserved acclaim from the larger music scene.

This release contains PHIL RANELIN and WENDELL HARRISON’s “A Message From The Tribe”, Tribe’s inaugural release – and perhaps their most famous. We’ve collected all three editions, as well as 17 issues of Tribe Magazine, a seminal afro-centric magazine published by Tribe in a limited edition box set.

Chicago's Black Diamond debuts on We Jazz Records with their new album Furniture Of the Mind Rearranging on 26th July. Co-led by Artie Black and Hunter Diamond (composers, saxophones, and other woodwinds), Black Diamond appears in both quartet and duo formations. The first three album sides present the quartet, complete with long standing band members Matt Ulery (double bass) and Neil Hemphill (drums), under the heading Furniture Of the Mind. The remaining two tracks on side D fall under the title The Mind Rearranging, with Black and Diamond presenting a meditative duo encounter of two tenor saxophones.

Furniture Of the Mind Rearranging is an assemblage of new compositions and improvisations that develop the band's established sound and exemplify the way in which this band folds into the Chicago creative music community. The quartet traverses their familiar aesthetic ranges between driving off-kilter groove, plaintive minimalism, and intimate chamber music, with the everpresent spirit of small-group jazz and a hovering influence of Chicago’s improvised music culture. And while this collection represents three previous

albums and more than a decade of close kinship and artistic evolution between co-leaders Black and Diamond, neither are too precious about any one element on the album. This is very simply the latest work in what continues to be an expanding body work founded on a guiding principle: cultivation without expectation.

The four sides with two formations flow together in a natural way, forming an idiosyncratic musical entity that is sure to grow with each new spin on the turntable.

Bristol-based DJ/producer Jay Singh a.k.a. Indian Man has been a regular on the festival and club circuit for several years, bringing to the dancefloors his distinct blend of musical influences, from electronica to the Punjabi sounds of his Indian roots. Championed by the WOMAD festival, his first official release is a mixtape of tracks he has created with a truly international cast of collaborators he met on his travels with the global music festival from the UK to Europe and South America, including stars such as Emmanuel Jal, La Dame Blanche, and Dobet Gnahoré.

Upon returning from his extensive travels, Indian Man honed his craft in the spare room of his grandmother’s house where he lived as a carer. He spent his evenings playing DJ sets and producing dance music on a midi keyboard left there from his father’s band, inspired by melodies his gran sang around the house. Packed with dance beats, playful melodies, and spin-chilling vocals, the result is Gran’s House — both a tribute to the loving family and diverse cultures that made him who he is, and the bold coming-of-age of a rapidly-rising talent.

Wiederveröffentlichung des CM Debtus! Limitiertes farbiges Triple-Vinyl mit Mamoreffekt. Nach zwei "Groove Sessions"-Compilations war es für die drei Künstler an der Zeit, ihr Rennen mit der Sonne zu starten und ein echtes Debütalbum mit Hip Hop, Dub, Electro und mehr zu schaffen... "Racing with the Sun" wurde wie ein Soundtrack zu einem imaginären Film konzipiert, einem seltsamen Western, der in einem geisterhaften fernen Westen spielt, in dem sich mysteriöse Charaktere in den verschiedenen Tracks verflechten. Später meldete sich das französische Kollektiv mit einem Remix-Album seiner bisher besten Veröffentlichung zurück und nannte es "Remix with the Sun". Ihre eigenen DJs und befreundeten Künstler haben das Album neu abgemischt, um einen neuen Einblick in die Lehren des Chinese Man zu geben. Simbad, Femi Kuti, DJ Suv, Deluxe, Mourning Son feat. Jeru The Damaja, Tha Trickaz, Iration Steppas, OBF, Scratch Bandits Crew, General Elektriks und weitere Gäste haben dazu beigetragen. Die Triple-Gatefold-LP enthält auf drei Seiten das reguläre Album und auf den drei anderen Seiten alle Remixe.

Erstes umfassendes Archivprojekt für The Police, welches erweiterte, mehrformatige Wiederveröffentlichungen enthält. Dazu enthält das Projekt bisher unveröffentlichtes Bonusmaterial, neue Linernotes und Interviews, sowie seltene Archiv-Memorabilien und Fotos.
Alle Tracks wurden direkt von den Originalbändern durch Audio-Remastering in den Abbey Road Studios
neu bearbeitet

Born and raised in Dallas, Texas, Sara K has spent her whole life around music. Her extensive career has seen her rise to cult status in Europe within the audiophile & folk-blues scenes. This unique collection of songs spans across her years recording for Chesky Records as a discerning vocalist and songwriter. Taking on classic songs like "Vincent" by Don McLean and "The Whipping Post" by The Allman Brothers Band with her own interpretative, emotive flair, as well as with her own original tracks.

Now on 180g double vinyl, Warren Zevon's 1976 self-titled album is a remarkable debut that showcases his distinctive blend of dark humor, literary lyrics, and rock-infused melodies. With tracks like "Desperados Under the Eaves" and "Hasten Down the Wind," Zevon explores themes of existential angst, love, and American culture with sharp wit and raw emotion.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Warehouse Find!

As I-Robots launches a new compilation series that celebrates the roots and influences of Italo disco in Turin and the Piedmont region, the Opilec Music boss also offers up various singles from it with some special remixes and edits. After an EP from Johnson Righeira last summer comes the latest one featuring the legendary Captain Torkive and two of his tracks as well as some special versions by I-Robots. Captain Torkive is Daniele Torchio, an Italian artist active in the late seventies & early eighties who got his nickname from a love of UFOs and space, in fact the titles here are inspired by the Superman DC Comics classic.
He has worked with the likes of Valero Liboni and all the material here is officially licensed from Ponzo Records master tapes. His tracks here are some of the most rare 7" Italo space disco tunes from Turin's rich history and feature synthesizers and electronic effects that he made himself, as well as guitars and keys he also played. Up first comes the I-Robots 1979 Reconstruction of Flying Saucers To Krypton which marries both tunes into a lush retro space odyssey that shimmers and rockets through the cosmos with live drums and jangling bass. Rounding off the A side is 1979 original version of Krypton' which is just as dazzling and spaced out with layers of synths and arps all sounding squelchy beneath some robot vocals. Kicking off the B side is the I-Robots 1979 Space Reconstruction of Flying Saucers To Krypton that strips some of the layers and keeps one lead synth line and some ascending spaceship sounds, as well as a lovably loose groove that really stomps along with real character. Last but not least is the original 1979 version of Flying Saucers, a cosmic tune with sci-fi sounds and melodies shooting about above big disco grooves with the keys and synths that carries you away to another galaxy. This is another essential package from Opliec Music that shines a light on an artist and era that deserves all the attention it can get.

Mobb Deep was a legendary 1990s rap duo formed in Queensbridge, New York, by Havoc and Prodigy. They are considered the foremost progenitors of hardcore rap and one of the most influential hip hop groups in history. Their music reflects the hostile reality of an era when poverty, drugs and gang violence plagued the streets of New York. Their music is characterised by dark samples, the drums, snares and bass are defined and the raw lyrics are of a very high standard, in the most competitive era in rap history. With their albums The Infamous (1995) and Hell On Earth (1996) they achieved fame within and outside the hip hop community, including hits such as "Shook Ones (Part II)" and "Survival of the Fittest". They would later collaborate with top East Coast rappers such as Notorious B.I.G., members of the Wu-Tang Clan collective, Jay-Z, Nas and 50 Cent, on whose label G-Unit they would release their album Blood Money (2005). Prodigy's sad death in 2017 due to a long and cruel illness only has amplified an already existing legacy. On this album we will be able to enjoy the instrumentals and acappellas of many of their best tracks throughout their career.

English musician Bryn Jones is one of the most original and productive artists on the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, he has released at least 200 albums for a total of over 1,900 songs in circulation.

The Extreme Years 1990-1994 is a compilation of all Muslimgauze's music, released on the Australian label Extreme Music between 1990 and 1994.

According to many critics and fans, this was a unique and very special period in Bryn's work, during which he went from amateur musician to experimental sound sculptor. Sadly, Bryn passed away in early 1999 at the age of 38.

The original tracks have been perfectly remastered for this first vinyl release and the new masters have been praised by Extreme Music owner Roger Richards.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

Animals on Psychedelics welcomes Swiss/Tunisian producer Ish for its 9th release, with another suitably lysergic 3 track EP.

A1 kicks off with vintage Sci-fi mind exploration samples and quickly evolves into a pulsating and accelerated acid trance rumpus, with the sample weaving its way around the tracks main goan filtered synths and throbbing bass, for a perfect, reflective end of night closer.

Still keeping things pacey and sci-fi, B1 guides us into more traditional trance territory, with lighter 808 kick drums and a progressive arpeggiated synth line that links up with his paranoid friend half way through for some machine talk , before metallic bass and electric guitar mates comes barging in to abruptly end all chat.

B2 continues the trip and lands us on an unexplored planet deep in the outer universe. Pensive, melancholic and breaksy IDM frequencies transmit through our vessels radio, whilst a woman reminds us that we still have our 'Body's' as we float in space.

Stefan Ringer serves up his finest ATL house bounce on this stellar link up with Jazz musician and fellow ATLien Marquinn Mason, pushing their sound into new unchartered territories. Journeying through House, Broken Beat and even a lil' Latin Jazz, the two talents compliment each others styles beautifully. The EP joyfully creates a new dynamic, without skipping a groove or missing a beat. Impossible to ignore on Stefan’s step by step instructional call to the dance floor on title track ‘Bounce Lesson’, a definite delight for the dancers. That bounce then rattles through the EP’s other two tracks ‘alltogethernow’ and ‘Lead Walk', where the grooves get even looser, deeper and more bugged out.

For those unfamiliar, Stefan Ringer is a pillar of Atlanta's electronic music scene and is a long time collaborator with house music OG and NDATL label boss Kai Alcé as well as with Ash Lauryn and Ben Hixon. Under his previous Rekchampa moniker he has released a number of classic EP’s through the infamous Peoples Potential Unlimited label.

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore. Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor. The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Back in stock.
Cratere Centrale, a Sicilian band formed between the volcanic slopes of Mount Etna and the urban area of Catania, debuts on Roots Underground with an EP consisting of five tracks with a strongly Mediterranean flavour in which jazz, funk and club culture come together for a surprising result.

The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.

The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.

Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.

UK Bass titan and Swamp 81 label boss Loefah makes his Teklife debut with Jump Start, three new tracks full of raw house energy. Taking cues from the Chicago tradition of feral 909 jams, these pummelling rhythms are met with eerie atmospheres and haunting speech. The late ghetto house godfather DJ Deeon adds his touches to the title track, stretching its acid squelches out and taking them even farther into space. It’s pure warehouse music, trippy yet ominous, perfect for getting lost in a dark corner at a rave.

GB's debut album, Gusse Music, emerges as a collaged symphony of experimental music with a pop sensibility. Its makeshift compositions, stretched out to linger in memory, offers a 33-minute textural plunge into the melancholy of the infinite – shadowed by loneliness yet illuminated by glimpses of light, a longing for the memories ahead. Tracks bleed into each other, like videos in a feed, momentarily grabbing the listener's attention only to be forgotten again shortly after. However, in the constant stream of impressions, GB patiently strives to inspire new thoughts and conjure an image, quaint and affectionate. From the sludged electric guitars and hypnotic baritone vocals of the opening track "FACETIME," to a solemn, almost Wicker Man-esque, acoustic instrumentation on "CONCRETE CITY," to stoned-out beats and rolling bass on "NEW PLANES”. Gusse Music evokes a world of music that is both welcoming and fun, hauntingly desolate, dark, and gritty. “the world in us, and all the spectacle, so much it hurt, wouldn’t trade anything”

Boxed set of five 7-inch vinyl records, 300 copies limited edition. Artwork poster included.

All tracks remastered from the original master tapes.

Alessandro Alessandroni is no longer remembered simply as 'the whistler' in Morricone's spaghetti western soundtracks – and rightly so, since he was the key figure behind much of Italian 'secret music' from the 60s and 70s, always there in the studio during recording sessions, whether as a multi-instrumentalist or as the leader of session vocal group I Cantori Moderni di Alessandroni. Today his pervasive presence and important role has been finally recognized by music professionals and enthusiasts alike, so much so that he is now considered the true father of Italian library music – a genre whose sound he shaped since 1968.


As a film composer, Alessandroni often worked for small productions that had very limited (and often regional-only) distribution, and whose budgets were worlds apart from those in the 'top league' where friends and colleagues like Morricone, Bacalov, Trovajoli or Piccioni thrived. Rarely released as a soundtrack, this music ended up, at best, forgotten inside dusty ¼-inch reels or, at worst, disappearing into thin air.

After a string of releases that have brought back to life forgotten or lost works by Alessandroni (Sangue di Sbirro, Afro Discoteca, Lost and Found, etc.), it was pretty natural for us at Four Flies to start delving into a little investigated area of his filmography: his scores for erotic films, the last genre to gain popularity in the flourishing Italian film industry of the 60s and 70s, and perhaps the most extreme too, the one that, by pushing things too far, eventually put an end to that industry and its genres.

So, we're now very proud to present Alessandroni Proibito, an exclusive boxed set of five 7-inch records. It contains a total of 14 previously unreleased tracks from the soundtracks of 4 soft-core erotic films that included hard-core sequences and, therefore, fell somewhere in-between normal commercial distribution and the underground scene of adult movie theatres.

Taking an artisanal approach to his musical craft, Alessandroni was not afraid of having to deal with spicy subject matter, wobbly productions, implausible plots, improvised actors, or cinematographers who were clearly no disciples of Storaro. And he was so good at making a virtue out of necessity, at turning budget constraints into creative advantages, that he created soundtracks that far surpass the films' quality, with music that at once captures and elevates the spirit of the erotic genre as if into a condensed symbol.

More specifically, the maestro recorded many of the pieces in a DIY fashion at home, using a 4-track Teac tape machine to arrange his compositions. The Teac allowed him to play different instruments on each track, which meant he could basically put an entire soundtrack together all by himself, or almost all by himself.

These recordings often feature drum machines – which provide that retro, early electronic music vibe – as well as funk guitars and exotic-sounding percussion in the rhythm tracks. In addition, there is an extensive, almost bewildering use of synthesizers to replace solo instruments that would have required a paid session player. On top this minimalist arrangement, Alessandroni layered what he could: some piano chords, a little flute and, most importantly, his signature 12-string guitar phrasing.

The result is just stunning: a unique mixture of electronic music and acoustic instruments, in a style that stops short of kitsch and ranges from cinematic ambient pieces like "Tensione erotica" to disco-funk tracks like "Snake Disco" and "One Sunday Morning", both of which feature vocals by Alessandroni himself.

Alessandroni Proibito comes with artwork by Eric Adrien Lee and a matching 30x70cm folded poster inspired to the insert-size posters which used to be hung outside movie theatres to attract cinema-goers.

The boxed set is being released in a limited edition of just 300 copies and will never be reissued. First come, first served.

We’re glad to be back with the second installment of our new series of DJ and Artist curated 12” mini compilations: Melodies Record Club.

Ben UFO is up next for volume two, following Four Tet’s selection a few months back. Available early October in loud 12” format and digitally. Here we have two tracks which have been staples in Ben’s DJ sets at different times, but neither were originally produced with a club setting in mind, which is why they’ve never been available in this format before.

On one side, we have “Drums” from Laurie Spiegel’s 1980 experimental electronics album “The Expanding Universe”, a collection of tracks produced between 1974 and 1976 using a computer playing the actual sounds by controlling analog synthesis equipment under control of the GROOVE hybrid system developed by Max Matthews and F.R. Moore at Bell Labs. Drums is a percussive seven minute computer generated workout inspired by Laurie’s interest in African and Indian musics, and which brings to mind the most far out kosmiche music of the period to modern day techno. A connection Ben has tried to make explicit by including it in his first BBC essential mix back in 2013.

On the flip we have a track by Olof Dreijer from the Swedish band the Knife who’s work you might also be familiar with under the moniker Oni Ayhun. Back in 2009 his artist friend Adnan Yildiz curated an exhibition called “THERE IS NO AUDIENCE” in Montethermoso, dedicated to public imagination. Adnan commissioned a single piece from Olof called “Echoes from Mamori”, that played on loop during the exhibition and was subsequently released only on CD. A contemporary piece more clearly indebted to house music, Olof built the track around arpeggios generated using sounds of frogs he recorded in the Amazon and birds around Berlin, fed into a sampler.

After a hiatus of a few years to concentrate on various studio projects, Steevio’s Mindtours label is back with a vinyl release over 2 volumes, pressed on bio-vinyl at the carbon neutral pressing plant Deepgrooves.

Dod yn ôl at fy nghoed (which is Welsh for ‘to return to my trees’ meaning to return to balanced state of mind) sees Steevio experimenting with deep, broken-beat bass techno awash with polymetric rhythms and jazz infused chord structures. Steevio’s musical approach has in recent years become more free-form, with loose mathematical frameworks, evading clear generic boundaries, and this release continues and expands on that theme.

All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 1 was all recorded during Covid lockdown and represents some the best material from jams from that period. All tracks were recorded live and improvised from a blank canvas in real-time on an analogue modular synthesizer.

Vol. 2 to be released 1 month after.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Early Mod outings, courtesy of The Blockheads rhythm section!
The Ossie Layne Show - Barcelona 69. EP is the latest vinyl release to become part of the Acid Jazz Records. Rare Mod Series.
This very rare 4-track 33rpm vinyl 7' featuring 'Ian Dury and the Blockheads' bass player Norman Watt-Roy and his brother Garth, led by band leader Ossie Layne.
The EP.s tracks deliver the classic 60.s Soul and Funk sound that Acid Jazz Records and the Rare Mod Series are famous for.
The EP features a version of Rod Stewarts. - Rock My Plimsoll. and Sly and The Family Stones classic 'Sing A Simple Song'.

This is the first reissue of two outstanding, very rare and highly collectible tracks by the Ethiopians.

They were initially released on two different singles and are put together on a single here for the first time.