Suche:new kid on the block

DJ Support: Mousse T, Todd Terry, Young Pulse, Angelo Ferreri, Melvo Baptiste, Richard Earnshaw, Micky More & Andy Tee, Dr Packer, Hatiras, DJ Rae, Mark Picchiotti, Birdee, Shaka Loves You, Yasmin, Saison, Michael Gray, DJ Spen and Hatiras

A Touch Of Love goes from strength to strength with EP8 in the vinyl series. Label boss Seamus Haji reps the A side with his latest faves ‘Fire’ with his good friend Mike Dunn serving up the unmistakable vocals on a funk fuelled Firestarter followed by his collab with the New York diva Kathy Brown over the sexually charged disco chugger ‘Dancing’. On the AA side new kid on the block from Barcelona Osner hit big with his outing ‘It’s Good’ with a nod to the 70’s with a modern twist for peak-time dancefloors whilst Italy’s fast rising underground hero Gledd continues the theme with the blues & soul injected thumper ‘Move Me’.

Genieße jetzt die Musik aus der Emmy-nominierten PBS-Kids-Serie ,Carl The Collector"! ,Sound Spectrum: A Collection of Themes From Carl The Collector" präsentiert die einzigartige Musik von Eraserhood Sound aus Philadelphia. Auf 34 Titeln, darunter der unvergessliche Titelsong der Serie, bekommst du einen Vorgeschmack auf Funk, Soul, Rare Groove, Jazz, Samba, R&B, New Wave und mehr - alles im typischen Synth-&-Soul-Stil von Eraserhood Sound. Die bahnbrechende Serie, die Carl, einen autistischen Waschbären, und seine Freunde begleitet, ist eine der ersten großen Serien, in denen Figuren mit Autismus vorkommen. Serienschöpfer Zachariah OHora wusste, dass er eine einzigartige Musikkomposition brauchte, um das Potenzial der Serie voll auszuschöpfen. Er wandte sich an Eraserhood Sound aufgrund ihres italienischen Library-Music-Albums ,Ribelle Di Mare" und bat um einen ähnlichen Synth-&-Soul-Ansatz. OHora sagt: ,Ich wollte keine typische Kindermusik. Ich wollte nuancierte, emotional reichhaltige Musik, die von und für Plattenliebhaber gemacht wurde." Die Musik, die vollständig von Vincent John und Maxwell Perla komponiert, produziert und eingespielt wurde, fängt die raffinierte Soulfulness von Vince Guaraldis klassischen Peanuts-Soundtracks ein und klingt dabei dennoch absolut frisch und modern. Jeder Song auf dem Album stammt direkt aus Episoden der unvergesslichen ersten Staffel von Carl The Collector. Von funkigen Fuzz-Freakouts bis hin zu düsteren, introspektiven Balladen - genieße einige von Vincents und Maxwells liebsten musikalischen Momenten aus der Serie.

After several years of existence Rite Of Passage have naturally progressed into the launch of their vinyl label. Based between Rotterdam & Slovenia the label called on four intriguing characters to assist with the soundtrack of RoP01, "I Want To Shower With Your Emotions". A nod to the Dutch underground as the VA features DJ Tjizza, new kids on the block Young Adults, Nathan Homan and the sought after Eversines.

One of the key 45s in the output of Prince Jazzbo's Ujama label during the digital era of the late 80s - originally reissued via NYC's Deadly Dragon some 15 or so years back - gets a much needed new cut & press via Death Is Not The End's 333 series.

The late Earlando Neil aka Early B first started performing on soundsystems in the late 1970s, often appearing with his young apprentice Wild Apache, later known as Super Cat. It was alongside Cat that he is credited as a key driver behind the popularisation of the King Majesty and Killamanjaro stables in the early 1980s, following which he had a string of hit records for the likes of Harry J's Sunset imprint, Ossie Thomas' Black Solidarity and Jah Thomas' Midnight Rock label amongst many others.

Following a run of stellar LPs in the mid 1980s Early B's output began to wane as the sound of digital production began to take precedence, but not without firing off one the most killer shots ever recorded on a computerized rhythm for Jazzbo's Ujama in 1987. Reportedly the first time around for the hallowed Replay version, Imitator's subject matter takes aim at the new kids on the dancehall block ripping off the veterans, while he simultaneously pays hard-earned dues to the dancehall's foundation deejays such as Jazzbo himself, U-Roy, Big Youth, Dennis Alcapone, King Stitch, Trinity & Dillinger.

Repress

The Undefined Tales saga continues. This time with seekers bossman Alex Picone; the man who doesn't need an introduction with his impressive trackrecord, a true legend in the scene. On the other hand we've got from Paris residing Charonne boys; these new kids on the block are quickly making name for themselves with releases on Partisan, Imprints & LMML. And last but not least Cobert; a diamond in the rough, with quality releases on amazing stories.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

We celebrate our 10th anniversary with the 3rd and brand new deluxe version of the 'Family Matters' series. No anniversary release would be complete without a signature track from Innershades. He has been a cornerstone of the label since day one. Betonkust embodies our Dutch-Belgian connection in many ways and with Breezeway Cafe he delivers yet another melodic gem. Brussels Based dj and producer DC Salas is the new kid on the 9300 block. He delivers a New Beat infused banger that nails our labels distinctive sound: raw, melodic, and steeped in what Legowelt once called 'Flemish greyness'. To top it all off, there's a timeless piano-driven masterpiece by After Club, a heartfelt tribute to the legendary Belgian nightclub Carat. Limited to 300 copies!

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

"KILLER KLOWNS FROM OUTER SPACE have landed at Waxwork Records! After much anticipation, we are thrilled to present the official 1988 Original Motion Picture Soundtrack by John Massari! In this '80's cult classic, teens Mike Tobacco (Grant Cramer) and Debbie Stone (Suzanne Snyder) have to fight both the diabolical bozos and the local law enforcement's disbelief to save themselves and their community from becoming victims of intergalactic killer klowns! The original score to Killer Klowns From Outer Space is kicked off by the classic 80’s horror movie theme track, Killer Klowns (From Outer Space) by California punk band, The Dickies. The ‘nightmare merry-go-round’ continues with a smattering of menacing electronic brass sections, electric guitar, bombastic drum machine beats, & harpsichord combined with sci-fi synth elements to capture the ultra-specific origins of the antagonists. Massari's score to Klowns is a retro-synth joyride from start to finish featuring immediately recognizable cues from the beloved 80's cult-classic! Waxwork Records is thrilled to present the official Killer Klowns From Outer Space double LP, released for the first time on vinyl. Complete with “Killer Klown” handpoured colored vinyl, deluxe packaging, new artwork by Ruiz Burgos, heavyweight gatefold jackets with matte coating, a heavyweight 12”x12” art print, and liner notes by composer Massari and Klowns co-creator Stephen Chiodo!

Brussels is a highway where rainbow-fuelled melancholia kids race its track, mountain and road bikes. Endless summers cherish the collective chosen chaos of the city; every corner displays wild micro-natures, buzzing insects, and rare weeds fourishing organically; tape hiss and AM radio compression are the soundtrack of everyday life. And hear! Originated in the Brussels DIY, indie rock and noise scene, a new kid on the block appears: Another Dancer.

They deal in utopian music - of the open, welcoming and whatsoeverish kind. It’s fresh, snotty, neurotic art-rock deeply rooted in 80s/90s DIY aesthetics. The songs on their debut album balance gently between forgotten pop hits and broken sound experiments. In their world, any shitload of weird, random, and badly synchronized sounds unveil broken-hearted pop mastery. In the Another Dancer universe, radios are stuck to WFMU and Soulseek is a self-conscious AI producing 80ies psychedelic FM-rock.

Brussels-based Another Dancer is outdated, wild at heart and elegantly shy. Their full album I Try to Be Another Dancer is out September 10th on Bruit Direct Disques and Aguirre.

"Flashes of the shambolic post-punk of Good Sad Happy Bad and the goofy, fraternal synth-pop of the blog-era gem Teenagers can be seen, often simultaneously, across the new single from the Brussels-based band Another Dancer. Vocals are layered on top of each other to a conversational near-cacophony, like you’ve been placed at the center of a Dry Cleaning show where everyone is, improbably, in a good mood. Sunny synth sweeps jostle next to bent, jangly guitar lines for a song that finds a special kind of vibrance in its mess. — Jordan Darville”

Four of the world's greatest blues harp players meet head to head in a "blowdown" supersession. "The cream of the Chicago sound...a must for harmonica fans"--DOWN BEAT.