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März erscheint endlich blink-182’s „Greatest Hits“, eine Sammlung von Songs aus rund 30 Jahren Bandgeschichte.

Darunter Songs aus den Alben „Cheshire Cat“, „Dude Ranch“, „Enema of the State“, „The Mark“, „Tom and Travis Show“, „Take Off Your Pants And Jacket“, „blink-182“ und viele mehr. „Greatest Hits“ enthält außerdem zwei Bonustracks: „Not Now” (eine Auskopplung aus dem selbstbetitelten Album von 2003) und „Another Girl Another Planet”, welches als Titelmelodie für die MTV Realityshow Meet the Barkers mit Blink Schlagzeuger Travis Barker diente. Das Album erscheint als 2LP.

Limited edition & Vinyl Only


Here it is, coming from a long way, md001 hits the shelves.

A side is Swanse, a modern/classic funky groovy bomb. Played and requested on the

dance-floors of half of the globe, this track has been waiting to be released for a looong

time. Too long… But as they say, good things happen to those who wait… And now the

wait is over.

B side is The Sound of Rapping – a rolling and relentless track, an old school half way

between classic hip hop and funky jacking house.

Instant Classic xxx

1000 new edition on blue vinyl, the RSD version is long sold out. Packaged in tri-fold sleeve that replicates the original 1971 release and featuring an extra disc of live BBC recordings from the same era. 50-year anniversary vinyl release of the original power trio’s second incarnation, now expanded with BBC In Concert versions of the album’s key tracks. An epic milestone and key prog rock definer, fusing their blues rock roots and their finely honed electric sound of the early ‘70s. This limited release replicated the original 1971 packaging, with a tri-fold sleeve, an absolute essential for fans of this seminal act.

Now who would have thought? Pile are back with an experimental improv record that is pure bliss. Painting immense landscapes and mixing viola, cello an tape loops to create a beautiful ambient voyage through noise, emotional electronics, pulsating drones and kosmische atmospheres. Dive in.

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

Das erste Ströme Album “Ströme Nr. 2” ist ein charaktervolles, wunderbar warmsensitives und dennoch energetisches Werk. Ein Hauptohrenmerk ist der ultra rare und sagenumwobene Moog IIIp Modular Synthesizer Sound. (Näheres über den einzigartigen Moog IIIp ist weiter unten im Text zu entnehmen, inclusive Fotos in der 2x LP). Darüber hinaus spielt und featured Ströme noch andere analoge Synthesizer u.a. das Modular A100 System von Doepfer. Der A100 steht auch im Mittelpunkt bei den Live Auftritten von Ströme.

Das Album birgt Clubtracks („Trang & Flinky” / “Panta Rhei”), aber auch entspannend ruhige und spacige Nummern („Wasser” / ”Niki”). “Das Modul” oder “Isolde” (mit dem Schauspieler Anton Weil aka Anton Zucker), überzeugen mit einer Portion Pop. Hinzu kommen noch einige krautige, an die 60er / 70er angelehnte Songs, die Ströme (Mario Schönhofer and Tobias Weber) in sehr fruchtbarer Zusammenarbeit mit Nick McCarthy (Franz Ferdinand) aufgenommen haben - “Right Now”, “Das Modul” und das wunderschöne “Stadlberg”.

Switched On 5/Remaster

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

It's been three years since Jessie Ware released her second album Tough Love. Described by Pitchfork as an album that moves into the territory of real, messy love' Tough Love was the critically-embraced follow up to Jessie's landmark debut Devotion in 2012. Signed to the influential London label PMR, Jessie's deep roots into UK music saw collaborations with SBTRKT and Disclosure bear fruit before her acclaim reached international levels. With both albums now gold-certified in the UK, a million albums sold worldwide and her influence undeniable, Jessie has spent the last three years working on her third album Glasshouse. The album includes multiple Radio 1 & 2 playlist singles and Jessie is confirmed for Sunday Brunch and Later with Jools around album release.

5 Year Anniversary Repress of the seminal debut album, on Black Ice vinyl with special Black Foil Gatefold packaging. Original Sales Text Below: The new project from The Dillinger Escape Plan's Greg Puciato, Telefon Tel Aviv/Nine Inch Nails's Josh Eustis and programmer Steven Alexander, The Black Queen have announced details of their debut album. 'Fever Daydream' will be released on 5th Feb, supported by a couple of new live dates: one on the day at Complex LA in Glendale, California and one on 5th February at Oslo in Hackney, London. The band have also unveiled a video for featured track 'Maybe We Should' Setting down somewhere between goth soaked synth pop, shoegaze and the neon bathed desolation of the Blade Runner soundtrack, Fever Daydream showcases frontman Greg Puciato's unquaestionable artistic talent. An album of Raw Nerves, dense textures and confessional fervour for fans of Depeche Mode, Nine Inch Nails and Joy Divison. The ten song Fever Daydream was written, recorded and produced by the band themselves, with Justin Meldal-Johnsen (Beck, M83, The Naked and Famous) executive producing and offering insight along the way. With the level of talent, innovation, and the air of mystery that surrounds the band, it is an unexpected journey through sound merging the past and laying groundwork for a hauntingly beautiful future. Band Members: Greg Puciato Josh Eustis Steven Alexander

The Globeflower Masters Vol. 1 takes its inspiration from classic soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani. Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making.

The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on. As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks.

The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

- Stunning debut album filled with lush, warm, timeless productions.

- Taking inspiration from classic 60s and 70s soundtrack, and cinematic, composers such as Axelrod, Morricone and Gainsbourg

LIMITED COPIES

Harlem Shuffle Records proudly presents the Symaryp's anthem covered by JUDGE DREAD: “SKINHEAD MOONSTOMP”!

4 minutes of madness for the very first time on vinyl and on 7inch single. Very much in demand.

On the flip, “Phoenix City”. This great instrumental was also never released on a 7inch single until now!

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic "Will Be Back" sign, whose clock hands indicated no conventional time of expected return.

Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.

However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of "Something Sweet, Something Tender" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following "Gazzelloni" is a startling contrast.

At times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.

It's time to present in Umor Rex a new collaboration between two great exponents of contemporary music who have been part of the electronic and experimental avant-garde for the last three decades. On the one hand, we have the Berlin-based musician, composer, and video artist Frank Bretschneider, recognized for precise sound placement, complex, interwoven rhythm structures, and his minimal, flowing approach. On the other hand, Giorgio Li Calzi, the Italian trumpeter, composer, producer, and performing director based in Turin, whose work is known for electronic/effects improvisation combined with the trumpet.

The creation process of Zero Mambo started when Giorgio and Frank met in Chamois, the Italian Alps, in 2018. A year later, Bretschneider sent to a few drafts in the form of audio files, loops, and sequences, and Li Calzi used this material quasi as a framework to create new compositions on it. At that time, in the pandemic, with the unprecedented intervention in lives and rituals, the situation led to ideal conditions to reflect and produce music, a snapshot of the weird times. Li Calzi and Bretschneider offer in Zero Mambo a fascinating album between electronic and jazz. It is clear that it is elegant, clean, and minimal, but we have to say, Zero Mambo is also exuberant and cheerful. A fantastic Berlin-Turin music connection.

New Zealand-based, award-winning duo TRUTH are champions of contemporary dubstep. Back with their first studio album in over 4 years, TRUTH unveil the second and final single taken from Acceptance. The mystical title track from the LP “Acceptance” is due for release Friday, July 2 via Deep Dark & Dangerous.

Following a long, quarantined year and a string of heavily-trafficked Twitch streams, TRUTH is now back in full effect with ‘Acceptance’ - their 5th album. Combining their razor sharp synchronization and innovative flair, this 13-track opus is a dreamlike journey through lush basslines, eerie rhythms, and vintage synths. At the heels of “Pages,” the widely-celebrated lead single from the album, TRUTH unveils the album’s namesake and title track “Acceptance.” A brilliant follow up to its predecessor, “Acceptance” is at once technical, ethereal, and deeply affecting. A psychedelic musing that encompasses the kaleidoscope fractals of sound that make up the album, “Acceptance” is a cornerstone of the project it belongs to.

VINYL REPRESS FINALLY ON THE WAY..

*Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

*The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:

-LEAD 4/5 BOXED REVIEW IN MOJO : “THE GRIT AND GUSTO OF OTIS REDDING, THE RAW POWER OF JAMES BROWN, THE SMOULDER AND SHUDDER OF JAMES CARR, TOGETHER THEY MAKE AN INTOXICATING SOUND.
-LEAD 4/5 REVIEW IN Q MAGAZINE : “THERE'S A NEW/OLD SOUL MAN ON THE BLOCK. 'NO TIME FOR DREAMING' HAS THE GRITTY FEEL OF THE REAL THING, A MAN WHO HAS KNOWN MOSTLY HARD TIMES AND TELLS IT WITH A PLEADING, THROATY ROAR AND BLOOD-CURDLING SCREAM WORTHY OF JAMES BROWN . A REAL FIND.”

*The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

*Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.

King Gizzard & The Lizard Wizard are repressing their sixteenth album, K.G. n 2010. In the wake of a global pandemic, it’s a collection of songs that saw the six members of the band retreating to their own homes scattered around Melbourne, Australia to compose and record remotely. But have no fear! Not a drop of that unnamed alchemical something that makes this band so special is missing. This is the Gizz firing on all sonic cylinders, for if ever a band were built to swiftly adapt to adverse circumstance then it is them. Hell, on paper Covid-19, with its monstrous yet unseen face, ecological implications and new language, even sounds like an abandoned concept for a King Gizzard & the Lizard Wizard album.

Truth be told, the practicalities of the creation of K.G. is a side-issue. It is the contents and the sheer visceral power of music that matters. Music that will live on long after a virus has passed. Back in 2017 the band released Flying Microtonal Banana, now one of their most highly regarded albums. That it was the first of five released by the band that year and was only part the story – a story made all the remarkable by the fact it was recorded using a microtonal musical scale that requires quarter tone tunings, on instruments custom-made for the occasion. It spawned a plethora of live favourites such as ‘Rattlesnake’, ‘Sleep Drifter’, ‘Nuclear Fusion’ and ‘Billabong Valley’ and showed the wider world that the Gizz paint from a palette that extends far beyond the musical colours of western rock. Here were songs in tunings more common in traditional Turkish or Arabic music.

“FMB was one of the purest and most enjoyable recording experiences we’ve had, and the ideas just kept coming” explains de facto band leader and multi-instrumentalist Stu Mackenzie. “But we didn’t think we would play it live as the music dictated a new medium that requires different instruments, new flight cases and so. It was a liberating studio-based experiment which surprisingly translated seamlessly and spawned some of favourite songs to play live.”

So now they return to the microtonal tunings on K.G., an album best described as a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes and via defiantly non-Western rock scales. There’s walk-on theme song ‘K.G.L.W’, the celestial disco-funk of ‘Intrasport’, the righteous life-giving staccato rock of ‘Ontology’, epic stoner-sludge closer ‘The Hungry Wolf Of Fate’, which ends the album in abrupt burst of white noise. All come together to represent the next-level of the expanding Gizz sound.

K.G. is both a stand-alone work and also part of a bigger musical picture. More news on that shall be forthcoming – fans of the band know by now that King Gizzard don’t do things by halves. If music were organic matter, then their albums are ever-changing entities: initial highlights are often superseded on further exploration, favourite tracks replaced by less obvious moments, while riffs or bursts of noise from four or five albums back might suddenly rear their heads again.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

The hotly tipped rising producer ED1999 is releasing his fifth 12" on his own label Porpax. On "Body Fluid", the Belgium-based artist unleashes four slices of high octane big room techno. "Indigo Blood", the second track, after the EP's bitter-sweet Carl Craig circa "Landcruising" reminiscent ambient opener "Blurry Blue Eyes", primes you for "Body Fluid"'s overall energy level. Balls-to-the wall techno with more than a hint of ED1999's love for Detroit techno. How deep this influences run in ED1999 is nowhere more audible than in "Abyssal Terror" with its jubilant chords and arpeggios. Another fast-paced whirlwind of a track is "Deep Sea Hunter", which has a loopy vibe to it, that is trance-inducing in the best possible way. The bleepy "Azura Sequence" rounds the EP off with another perfectly balanced execution of tracky forward drive and deepness. Visually, the collaboration with Berlin-based graphic artist Oliver Sperl continues. The cover of "Body Fluid" is one of Sperl's artworks that the Porpax team purchased at an exhibition in Berlin a while back.

Switched On 5/LtdDeluxe

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

Born of chance meetings in Accra, the band brings together a Burundian producer and vocalist, Betina Quest; with a Ghanaian singer-songwriter, Eli A Free; and a German percussionist and multiinstrumentalist, Ma.ttic. Nyamekye Junction take their name from a bustling junction in the Ghanaian capital, where a number of major roads merge, embodying the musical approach of the band: a singular sound at the junction of their cultural heritages.

In Eli’s words, ‘Dasein’ (from the German for ‘existence’, ‘being there’), captures “the need to live in this moment here and now with a heart full of gratitude” while exploring a number of interlinked themes, including the importance of one's environment – cultural and political, as well as physical - in situating, shaping and explaining each individual’s identity.

The band adeptly channel a wide range of influences, from the Ghanaian legends Ebo Taylor and Osibisa through to US mainstays such as Nina Simone and Erykah Badu; with equal regard given to UK innovators like Benjamin Clementine and Mala. The resulting debut EP ‘Dasein’ is a stunning collage which showcases the band’s impressive range and evolving sound by traversing a diverse range of moods, rhythms and textures.

The lead single ‘GMT’ (short for ‘Ghana Man Time’) is a dancefloor-ready track that carries a deft political message. Driven by a weighty bassline alongside punching drums and percussion, for a rhythm section that would be at home in any broken-beat set, the song explores and emphasises differing conceptions of time between the West and Africa with a playful irony.

Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.

Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed pramarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.

While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

LP on classic black vinyl. The long-awaited new album from the best pop band in Scotland... The Orchids were making sophisticated pop music right back in the early 1990s when Sarah Records first started. Their songs were as emotionally pure as anything else on that label, but they were always a step ahead of their peers in terms of song arrangements and musical ambition. With a casual, unpretentious air they made writing perfect pop songs seem easy, almost accidental, and several great releases followed. The Orchids gained a passionate following: people knew a good thing when they heard it and they hugged it close. But maybe now it’s time for the rest of the world to be let in on the secret. The songs themselves are a beautiful mix of strength and gentleness. They wrap you in a powerful embrace, making you feel comfortable and secure – and then whisper their insecurities and anxieties into your ear. They say: ‘it’s OK to admit weakness. It’s OK to be fragile. That’s where true strength comes from’. From Glasgow, and proudly Scottish, the band shares a musical lineage with other great groups from that city, from Aztec Camera to Orange Juice, Lloyd Cole to Teenage Fanclub - bands that specialise in song-writing that can tell big stories through small personal fragments, that can make the ordinary extraordinary. Ian Carmichael has helped the band create a perfectly produced masterpiece. He subtly accentuates the drama of the songs, with a sophisticated choreography and gloss that never overwhelms the tenderness of the music. In ‘This Boy Is A Mess’ (the first single from the album), the lyric confesses frailty while the arrangement gets stronger and stronger. It is bittersweet and exhilarating at the same time. ‘I Want You, I Need You’ has harmonies as big as a house – but the yearning message remains intimate and close. ‘I Don’t Mean To Stare’ is an elegant version of the song that first appeared on Skep Wax compilation Under The Bridge. Album opener ‘Didn’t We Love You’ daringly opens up empty spaces where the reverb of the drums is the only thing you can hear... and then floods your ears with a harmonised chorus, sweet guitar melodies and sweeping effects. Even then, the lyrical lament, expressing the desire to live in a better place - a place unspoilt by the greedy phonies who’ve taken over – comes across as clearly as if Hackett were leaning over for a friendly chat in the snug bar of The Orchids’ favourite Glasgow pub. Dreaming Kind will be released as a CD, digital download and vinyl LP.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

In 2021, Los Angeles trio Gabriels arrived in a whirlwind with the loose-limbed vintage soul jam of ‘Love & Hate In A Different Time’, a song that could have dropped in almost any era. A stone-cold classic, it introduced a band so much more than just the sum of their supremely talented parts.

For the first time, ‘Love & Hate In A Different Time’ is now getting a special 7 Inch release with a previously unreleased live version of ‘Spanish Harlem’ recorded at BBC Maida Vale studios for a Gilles Peterson 6 Music session.

Just a handful of live shows deep, the spotlight swings and lands squarely on vocalist Jacob Lusk. A man who demands attention with a presence and voice of a gospel choir. That rich vocal swoops and soars through the pitches effortlessly matched by an on-stage persona that’s intensely likeable.

A bonafide star by anybody’s reckoning. Two acclaimed EPs deep and yet barely out of second gear, Gabriels have moved beyond mere promise to become one of 2022’s most essential new acts.

Press / PR:

“One of the most spectacular voices you will hear this year... Set to be 2022’s word-of-mouth hit” - The Guardian

“A sound that’s unlike anything else out there” – The Times

SOLD OUT every headline live show in 2021 and 2022 so far in seconds. Gabriels will also support Celeste on her sold out UK tour in the spring of 2022.

Love And Hate In A Different Time was playlisted at 6Music Arielle Free’s TOTW on Radio 1, other supporters included Annie Mac, Nick Grimshaw and Adele Roberts

Syncs with Reebok and Gucci campaigns

Breaking Act - Sunday Times Culture feature

Included in The Guardian’s 2022 Tips

NME Radar feature & NME 100: Essential Emerging Artists For 2022

KCRW’s 2021 Breakthrough Artist

Ones To Watch – The 25 Artists to Watch

The gift that keeps on giving, Purple Disco Machines’ ‘Exotica (Deluxe Album)’ is being treated to some epic remixes of your favourite songs now available on vinyl.

Featured on this vinyl another two standout reworks, firstly from Alex Virgo with his italo disco flavoured remix of ‘Playbox’ and followed by disco royalty, Poolside, taking on ‘Wanna Feel Like a Lover’.

Compilation of singles recorded for Glass Records. Pressed on Yellow vinyl with orange & black splatter. Includes printed inner sleeve with posters and postcards
Religious Overdose formed in 1979 and alongside the likes of PIL, Joy Division and Bauhaus helped forge the sound that became to be known as post-punk. In just 2 years their experimental songs were pushing boundaries. From the hypnotizing drum machine led debut “25 minutes” and the krautrock influenced “I said go” to the synth infused new wave of “Blow The Back Off” and their final single. The sprawling 7 minute “The Girl With The Disappearing Head” This is a celebration of the much underrated and important Religious Overdose.
Formed in Barby (near Rugby) in 1979, original vocalist left, ALEX NOVAK joined in 1980, producing three singles for GLASS RECORDS. Initially used a rhythm generator then replaced by drummer PETE BROWNJOHN. Played with WHERES LISSE / FALL / EYELESS IN GAZA / TRANCE / MYSTERY GUESTS / BAUHAUS / DANCE CHAPTER / SKI PATROL /ENGLISH SUBTITLES / ATTRITION / THEATRE OF HATE... the last gig was in Northampton 1982, recorded and released as a tape by ADVENTURES IN REALITY label and fanzine from Coventry.
The Cast
ALEX NOVAK Vox before ISAWS after TEMPEST / ATTRITION now VENUS FLY TRAP , RICHARD FORMBY Guitar after JAZZ BUTCHER / IN EMBRACE / SPECTRUM, DAVE HYNES Keyboards, ADY TILLEY Bass before WHERES LISSE, PETE BROWNJOHN Drums before ISAWS , ALARIC NEVILLE Guitar, FILIPE FIGUERA Bass

The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo", "Soul Donkey", "Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... FOR FANS OF: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."

The iconic US blues-rock guitarist Walter Trout is set to release his 30th
solo album, Ride on 19 August via Provogue/Mascot Label Group.
However fast or far a man travels, he can never truly outrun his past
On his new album he found himself eyeing the horizon and the green shoots of
his triumphant late career. There was a new record deal with Mascot/Provogue. A
move from California to Denmark with his beloved family. Even now, aged 70,
Trout was still writing fresh chapters of his life story.
The last time we saw Trout stepping out, he was on the road in support of 2020's
Ordinary Madness. The campaign ended in frustration, when Covid rendered live
work too dangerous, both for this liver- transplant survivor and his fans,
condemning Trout to an enforced downtime in Denmark that he hadn't known in a
half- century. "I've been at this since '69, when I started out in the New Jersey
bars," he reflects. "Suddenly, I'm sat on my ass for sixteen months, although I did
still practice guitar every day. My wife and manager Marie knew I needed to make
music. So her present to me for my 70th birthday was a brand-new record deal
she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and
my plan was to fly home to make a new album."
The result is Ride, providing an emotional release-valve – both for its creator and
his loyal listeners – perhaps this veteran artist can reconcile with his past, accept
his future and live in the present as it unfolds. "I think you can interpret this album
title a few different ways," he concludes. "I mean, this album is definitely a
musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of
a ride too, isn't it? And I want to live mine to the fullest."

THE ICONIC 1993 MASTERPIECE OF UK GOTHIC DOOM PRESENTED ON
SINGLE BLACK VINYL. My Dying Bride has been the leading light of doom
metal since the debut album "As The Flower Withers" was released on
Peaceville Records back in 1992
Influenced by acts such as Celtic Frost & Candlemass, the band's heavy
atmospherics have carved a huge worldwide following over the years & they
remain at the pinnacle of the genre & one of the most instantly distinguishable
metal bands.
Originally released on Peaceville in October 1993 & recorded at Academy Studios
in Yorkshire, 'Turn Loose The Swans' saw the arrival of long- time session
musician & classically trained violin & piano player Martin Powell. The album also
saw the band stretching & pushing the grandiose textures & epic doom dynamics
to create an opus of previously unrivalled atmosphere & stark emotion.
Fans & critics have since hailed 'Turn Loose The Swans' as the blueprint for the
new Gothic Metal genre, with many often still citing the release as among the
defining albums of the band's distinguished career.
This edition of 'Turn Loose The Swans' is presented on single black vinyl, now
with cover artwork from the original CD edition.

How Do I Get That Star is Zannie Owens' debut record under their own
name, as well as the first release with Kill Rock Stars
Previously, they performed as Potted Plant and they co-helmed the band Really
Big Pinecone alongside Michael Buishas (0 Stars, .michael). This latest effort is
self- produced, and features contributions from friends in New York, as well as
zannie's brother Sam, who plays bass and also mixed the record. Made over the
course of four years, the record deals with feelings of pining for the unknown, the
mystical, and the mundane. To paraphrase zannie, the record was produced
mitotically from their mind. The resulting 11 songs (picked precisely because of
the number's magical, symmetrical qualities), are warm to the touch. To listen to
How Do I Get That Star is to immerse oneself in a sound bath or look up at the
stars on a summer night in the middle of nowhere.

'Fairy Rust', the new album from Wombo contemplates the spaces inbetween, a meeting of the physicality of the land with the fluidity of the
imagination, to uncanny effect
Across twelve tracks, sharpened guitar work, distorted freakouts and downtempo
musings weave together a tapestry of sound that's both intoxicating and
effortless. Where one minute it's all deadpan post- punk energy, and the next
Stereolab on a mountain top. The music functions as their own localized
language that feels uniquely out-of-body. Conceived over the course of the last
two years, the record is steeped in its own time warp of escapism, and influenced
by fairy tales like the Brothers Grimm and Hans Christian Anderson that blend
surreal situations with the mundane. Flirting with prog, pop and effervescent
post- punk, Wombo's forward- thinking approach set them apart as one of the
most exciting up- and- coming bands right now. Mixed by Dave Vettraino (Dehd,
Deeper, Lala Lala) & Mastered by Jonathan Schenke (Parquet Courts, Snail Mail,
Pottery).

Cool Hand Flex was an original Suburban Base artist since 1993 and published with Subbase Music ever since, with influential releases on both Subbase and his own labels run together with his brothers out of De Underground Records Store in London’s East End.

Such was its influence on the evolution of Jungle and DnB, introducing to the world the talent that is DJ Randall and releasing seminal works such as We Are i.e. that the location of that store now carries a heritage plaque. Flex now brings you De Underground EP as an incredible collectible picture disc, carrying the iconic first-generation logo, it is a must have for all vinyl collectors and those that love and respect the origins of this music.

This is much more than a piece of memorabilia though, with 4 slamming tracks to trouble your speaker system. Starting off with two brand new slices of Flex awesomeness on the Future Flex side – ‘The Bass’ and ‘Let The Music’ distinctively Cool Hand Flex production with deep subs and crashing breaks which still seem to roll into smooth yet hard DnB.

Then on De Underground side you find two highly collectible tracks ‘Ralph’ and ‘Jungle’, that have never received a repress since their initial pressing run back in 1993 despite being in high demand. Expertly remastered and sounding as fresh as ever all packaged on a beautiful 12” vinyl picture disc.

Once again this is an extremely limited pressing & we can only advise you to grab them now before they disappear. Buy now and treasure forever!!

Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch!

This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!