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For Erika's second album "Anevite Void", she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. "Anevite Void", Erika's new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her. Conceptually, this album was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in." From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes "each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host." Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void" in early 2023.

This series of remixes, stretching all the way back to 1993, continues to progress and expand its base of talented and incredible old skool talent. Part 16 brings some high caliber talent to the table with both Phuture Assassins and Tim Reaper on remixes duty for the first time. Plus we have stellar work from both Mannik and Shoreman, two of Kniteforce’s finest…

An elusive Soul/Funk masterpiece from mid-70s Lakeland, Florida. The Riley siblings; Carrie, Horace & James laid the foundation for the two songs they would bring to Auburndale's custom recording studio, Central Sound to be released on the Nashville/Florida label, 'Music City'. Jerome McNeil, William Freeman, Bruce Bolden & Sam Graham would complete the outfit and be collectively known as 'Carrie Riley & The Soul Fascinations'

It's been 15 years since Now Again & Jazzman showcased the Deep Funk rarity 'Super Cool' on their Florida Funk compilation, however it's James Riley's group harmony B-side, 'Living In A Lonesome House With You' that has remained at large, unknown, collectively showcasing the talent encapsulated by The Fascinations.

'During the early 70’s The Riley family members who formed the Fascinations (originally the Soul Fascinations), James, Horace and Carrie along with a few friends, were destined to develop and perform musically as music flowed through our veins. Our father was a musician who played piano and sang the blues. As children we gathered around an old upright piano after dinner to hear our father play and sang. By the time I was 14 and my brothers, James and Horace were 16 and 17, we had all learned to plan an instrument. My focus was on vocals with many role models to learn from in the music industry such as; Dianna Ross, Chaka Khan, Gladys Knight and Mable Staple. My brothers loved the Commodores, Kool and the Gang, Rick James and Earth Wind and Fire. The Isleys’s were a favorite of ours also. James was the driver of our success in recording as he made sure we practiced for hours on end. Sometimes we would practice popular songs until 2 in the morning. James began to write songs and develop melodies that he would share with Horace and I. We would make suggestions for revisions such as arrangements and melodies. Before long we traveled to Miami where we recorded, Super Cool which was our title song, 'Living in A Lonesome House' and a few other tracks. 'Super Cool' is a song that is personal to me. It is a song about relationships and trust, while the Lonesome house song was about love affairs and breakups. So much great music came out of the 70’s. I am grateful that our music contributed to the industry during a time when great music was about love and relationships.

Lovingly
Carrie'

For a quarter of an hour, Zürich was the navel of the world. Let's look back: at New York's CBGB's, pre-punks were shredding away, Malcolm McLaren, as a man with a fine-tuned taste for the hip, imported the sound to London, where his sweetheart Vivienne Westwood dressed the test-tube band The Sex Pistols. A few pop magazines later (we are in an analog world!) punk bands sprouted everywhere, like shiny pimples on poorly fed teenagers. Contrary to legend, even back then, it was often those with a musical background who were the most successful. One such example, Henrich "Wüste" Zwahlen, who had learned the violin, attended a jazz school and went into prog-rock before joining the Nasal Boys, one of the first punk bands in Zürich. The scene included the female band Kleenex (cover: Fischli of art heroes Fischli/Weiss), whose minimalism was praised by the London music press, while the world's most important rock theorist, Greil Marcus, wrote an ode highlighting Zürich's role as the birthplace of Dadaism. A fertile ground for the militant youth movement that exploded in 1980 and stirred up the city of banks, protestantism and boredom with raw wit and expressive violence. Gathering at concerts of local bands and fueled by endogenous and artificial substances - they paid homage to exuberance and self-indulgence.
The mantra of "everything-is-possible" was driven forward on the musical front by progress in terms of means of production: analog electronic instruments were no longer reserved for hippie nerds, who sat in front of large plug-in boards like autistic-psychedelic switchboard operators connecting cables for their sound carpets. Now snazzy stage personnel elicited fast-paced sounds from handy devices often made in Japan. Kraftwerk was fashionable, the Zurich duo Yello experimented with new synthetic sounds, and the groundbreaking album "Alles Ist Gut" by the Düsseldorf based duo D.A.F. (Deutsch Amerikanische Freundschaft) was released, which chanted its program of provocation times danceability with lines such as "Tanz den Jesus Christus, tanz the Mussolini, tanz the Adolf Hitler." In England meanwhile, electronically backed New Romantic bands were replacing New Wave. The Human League, Heaven 17, Duran Duran, OMD, Depeche Mode or Visage stormed the charts.
In Zürich's underground, the duo Aboriginal Voices caused a stir at that time. A couple, good-looking, styled, looking cool into the cold neon light, with a danceable beat and sequenced electro sounds, to which Micheline gave a very unique touch when she sang in French and English. Micheline had a classical piano education, had left home early, worked as a lighting technician in a strip joint and at Booster, the hottest boutique in town (one of the relicts that still exists). Voilà: a musician who was as stylish as she was tough. She was already playing with Wüste in the band "Doobie Doos", a band where everyone played an instrument they didn't master. In 1980 the Aboriginal Voices were formed, initially with vocalist Magda Vogel (of later UnknownmiX fame), who was trained as a classical singer.

Frustrated by organizational friction and constant hassles with band lineups, Wüste and Misch decided to do everything as a twosome: self-mixed, self-styled, self-produced. With the top-of-the-line Linn drum machine clocking the beat, Wüste's guitar and Micheline on the Yamaha synthesizer created a unique sound of danceable electronic music. Whereby the Aboriginal Voices acted as a kind of proto-influencer, receiving the latest equipment to try out, especially since they made it a point not to work with tapes, but to design everything for live shows. They had an interface built for the legendary Roland MC-4B, who sequenced the modular Roland System 100M but where one output controlled a light show synchronized with the sound. A pioneering act that fit well into the DIY spirit of punk, with its self-distributed tapes and fuck-you attitude towards the cretins of the music industry. Consequently only two cassettes and an EP were released. There was something futuristic about the sound, the vestiary style and the electronics, while the attitude remained rebellious. Of course something so deeped in the Zeitgeist wasn't meant to last. Wüste moved to New York, Micheline stayed in Zurich, both still active in the music scene to this day.

Sven Regener, head of the band Element of Crime and one of Germany's most successful pop writer said a few years ago when asked if he knew of any Swiss music: "Of course! In 1983, a Swiss band called Aboriginal Voices played with us at a festival in Zurich. Great, avant-garde electro-pop. That was my first encounter."

If you ever saw them live, you never forgot them, and so over the years you belonged to a teeny-tiny circle of insiders, happy to be joined after all these years by new aficionados who appreciate the sound of that quarter-hour, when Zurich was ravishing, creative and exciting.

- Thomas Haemmerli

After on the first futuristic EP, MAXIMILIAN this time taking it back to the 90's base with 2 classic Deep-House tracks on EVIDEON Studio Records 002. All tracks have been made in with analogue machines in an oldschool manner with beats in transcendent atmospheres. All the essentials delivering exquisitely balanced sounds that merge emotion and intensity.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.
Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Hambourg’s electro duo Fallbeil composed by Wosto and Kluentah, is still pretty unknown despite they’ve been releasing a bunch of EP and a couple of LP on label like Mannequin, Killekill sub-label Boidae or New York Haunted and more recently on their own label Teerpappe to name a few. Wosto, long time Macadam Mambo’s collaborater (Danzas Electricas vol. 2 & 3), sent us demos of what sounds very like « what Drexciya would realease on Bunker Records », a compilation of irresistible dark atmospheres slow electro tunes with very raw textures, complemented by few little skits to generate a brilliant album around the story of the Mockturtle. It’s rought as it should be ! And ! Little TIP for gabber’s heads dj, some tracks can be played in 45rpm check « No Go Area » and « Rackelhahn » it makes it worth

repressed !

***Taken from Leaked Whatsapp messages between DJ Absolutely Shit and Il Bosco***

Yo cousin Bosco...how's ya raisin widge?

Nice one for that last lot of dough i'm starting to well buzz off all this music industry bollocks now you know...mad what you can do with a catchy DJ name and pure absolutely mega tunes wot are miles better than anyone elses init?

Anyway i've been diggin' me fuckin' 'ed off ant I recently and got some more well primo gear for yas here...done 8 this time - was thinking if i'm managing to sort me life out banging out EPs for yas - if I do and album or two i'll be mega wedged in no time deffo init.

Yeah i'm thinking fuck this i need to get out this rank shit-hole quicktime... spotted this sick 3 bed thatched cottage gaff in Cadishead the other day, well smart. Detached n everything G, so can deffo get a proper grow on in there piece of piss. Gran's doin me ed in n all here G, big style the old slapper. She keeps robbin' me cash!
Turn me back for 5 mins and she's fuckin chonged it all the little turd... fuckin fuming ta fuck g cant wait to do one from that shitty flat...and if she thinks she's keeping me dodgy sky box she suck me widge haha.

Anyway shout me soon init. fuck knows what to call this album g. ask Pharaoh to come up with a name for it the turd. i can't be arsed thinkin... Seen him the other day actually bumped into him and that Crispy Duck guy who does those sick comics. They was outside some posh coffee gaff in Ancoats with a few other chumps lobbing bricks at a pile of other bricks down near the canal drinking pink hooch the turds. Get em to do the artwork for it n all g. if they want paying or owt tell 'em to suck me widge haha.

Nice one

ZYX Italo Disco: Best Of : The ultimate new vinyl compilation series
dedicated to our Italo Disco fans around the globe enters its 5th
round.

Of course, also this edition is released as a 2LP set on colored
vinyl.

Dance and sing along to 14 unforgettable hits and rarities from the
80s in best sound quality.

Enjoy songs like Valerie Dore - King Arthur / Savage - So Close
/ Ken Laszlo - Don‘t Cry / Radiorama - Chance To Desire and
many more.

Stratus were a cross-genre rock band formed around 1974 in Rhinelander, Wisconsin, led by Robert Ackley. Originally recorded in 1976 at Wildwood Recording Studios, an embellished description of a basement in Rhinelander, Wisconsin. This release was funded by a local dentist and promoted by ‘Cathy’, Ackley’s muse and inspiration for the release and the track ‘Girl’ in particular. Only 1000 copies were ever pressed, the majority of which were subsequently distributed by the band at shows as pseudo-business cards, with many pristine original copies as a result becoming lost to time. The tracks have since resurfaced in Europe many years later, much to the surprise and joy of Ackley himself. Remastered from one of the last remaining mint condition original presses, this release is a must for all collectors of blue eyed soul and AOR rarities. This reissue marks the first release in 7” format since its 1976 debut.

SlothBoogie Records return for 2023 with a five tracker from Moonee.
Groovence Discs boss Francois Lefevre is well versed in deep grooves and has been releasing some of his finest discoveries on the label since 2015. More recently he's been making his own deep and atmospheric productions under the Moonee moniker which took off in 2020 thanks to debut track Faith & Sorrow. Collaborations with some of the French scene’s finest producers Mangabey and Tour Maubourg soon followed as well as a remix for Sweely’s banger 'I Gotta Keep On'.
The Wabi Sabi EP on the label landed in 2022 and was highlighted by Juno's editorial team as 'a sumptuous, slowly building chunk of intergalactic deep house beat loveliness'. That same EP caught the SlothBoogie crew's eye and they immediately began working on presenting a selection of Moonee's tracks that would celebrate their shared love of deep yet pumping Disco and House sounds.
The Primal Groove EP was born and it starts off with 'Apples', a Motor city soul drenched track with filtered bass, dusty horn samples and spaced out guitar licks. Shuffled along by MPC beats before an otherworldly vocal washes over and brings it all to a close. 'Shishingo' is up next with it’s clever vocal manipulation, bouncy drums, subtle organ flourishes and a skipping bassline that builds up to some good ol’ time piano workout. Completing the A side is 'Dinner At Michelle's'... the most disco cut of the 12''. More shuffling shakers and filtered guitar loops backed by a thumping kick and ever circling strings leading the way for a full on 4/4 workout.
Flipping over to the B sides introduces us to the title track 'Primal Groove' that takes us deep into a nostalgic trip with its string swells and filtered bass. Moonee is flexing his deep house muscles on this one as snappy percussion punctuates more MPC sampling, building tension towards the reveal of the main heads down groove section… classy business. Finally for dessert is 'Boka' a sumptuous glistening track that’s primed for beachside sunsets. Saturated with hypnotic vibes that’ll help you drift away into a calmer, more peaceful sanctuary

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

It is with a singular pleasure that we welcome Marc Romboy to the ever growing stable of live artists at ASW!

Marc Romboy is an artist renowned within the electronic scene for his eclectic, boundary-pushing approach and decades worth of experience working both behind the scenes and behind the decks.

In recent years he has embraced performing live as another creative outlet and, indeed, creative challenge. As an artist and performer, Marc has always pushed the boundaries of his creativity and this, Marc’s first studio album in 6 years is a true masterwork of techno from one of the masters of the genre.

Growing up in the West of Germany close to the borders of both The Netherlands and Belgium, Marc was always instinctively drawn to music. He would attend the acid house parties prevalent in the area, with an epiphany of sorts on the dancefloor of Front club in Hamburg in 1987. An avid record collector, he would listen to Krautrock, breaks, Italo disco, Chicago house and more, and experienced some of the first all house and techno clubs in Europe; the legendary Roxy club in Amsterdam and Dorian Grey in Frankfurt. Learning to DJ, and later on produce, was a natural step.

He founded the ’Le Petit Prince’ imprint in 1993 as a platform for the music of friends he was playing out, which went on to be named Label Of The Year by various German electronic music publications the following year. Its reputation led Marc into collaborating with other DJs to manage their labels too.

Meanwhile, Marc went on to notch up an impressive discography of EPs, tracks and collaborations, carving his own sound; emotive, versatile, and featuring distinctive basslines.
2004 was a landmark year for the artist, with the beginning of his own, completely self-run label Systematic. Since It's birth, the label has provided a home for productions from the likes of Robert Hood, Kenny Larkin, Omar-S, Terrence Parker, Timo Maas, kINK and many more. It also provided the platform for Marc’s first album, ‘Gemini’ in 2005, followed by four further LPs; 2008’s ‘Contrast’, 2009’s ‘6 Monde’ with Stephan Bodzin (which birthed the pair’s now-legendary track ‘Atlas’), 2013’s ‘Taiyo’ with Ken Ishii, and 2014’s three-disc retrospective compilation ‘Shades’. And his collaborative orchestral LP ‘Voyage de la Planète’, Marc’s forward-thinking last album. Pushing the boundaries between classical and electronic music, it makes for a moving , atmospheric outing for the producer - “I feel like there are still a couple of beautiful sounds to create”.

Marc’s output has been exemplary and with his inspiration rising for performing live he now brings us the wonderful “Music Made for Aliens”. A work of true electronic inspiration. Marc will be performing live at ASW events coming up soon.

Don Carlos, one of the very first italian deejays to wrap his productions up in that Deep House aura that was gripping on european clubnights and fast became the soundrack of sunday after hours with sunglasses on and beautiful dawns in the background. Both Don Carlos tunes sold by the loads on 12”s and LPs but never ever came out on a 7”. I’m quite sure many of you already know Mediterraneo while the Flute House take of Alone is an off-the-radar version played systematically by Tony Humphries for ages.

Connections by Satya is a February exclusive edition and a token of love for the year ahead. Gathering to spark an electrifying synergy, Connections is all about finding that blissful meeting point that can be achieved once we mindfully align on values, sentiments and musical sensitivities. These pillars hold up Connections’ core foundations and shape a new philosophy construction for the label. By merging four finessed tracks mastered by four invested musical minds, Satya takes a new turn for collaborative musical alchemy in the sense that Connections’ production is balanced, tasteful and touching. Each artist’s culture subtly seeps into each track and speaks volumes of their character in and out of the studio. Space Invaders, Aurora, Mentat and Spaces hold many keys to unlocking doors to full transparency and connectivity through our senses in the simplest of ways.

“These are cosmic sounds that you can get lost in and go anywhere you feel safe and adventurous.” - Zone+

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

Manchester based DJ/producer Antagonist cues up a collection of dense and uncompromising electronic tracks on his R&S Records debut. The ‘Rites’ EP pulls together 5 new tracks that lean on the artist’s drum ‘n’ bass roots and influences, a sound that has informed his DJ sets and studio productions since he launched the project in 2004.

Channelling his productions towards the more cinematic and darker side of drum ‘n’ bass and broken beats, Antagonist has released a strong run of EPs for labels such as Samurai Music, Ronin Ordinance, One.Seventy and his own Discipline imprint, stamping his hybrid sound across these well received releases.

Layers upon layers of shadowy ambience and wistful tones are punctured by hard edged beat-science, as Antagonist goes in deep on the complex breakbeats, chopping back and forth knifelike loops and dynamic kicks. A highly accomplished debut for the R&S label from this sonically exciting young producer.

‘Rites’ EP by Antagonist is available on R&S Records from 17th March 2023

Bečva is a river located in the Eastern part of Czech Republic. In September 2020, several chemical leaks into the river caused the poisoning and subsequent death of 40 tons of wildlife in the waterway – an unprecedented catastrophe. Growing up in Přerov, Bečva was an ever-present part of Tomáš Niesner's youth and this environmental disaster affected him deeply. In an effort to understand the river better and inspired by Werner Herzog's 'Of Walking in Ice', Niesner set out on a journey from the spring of Bečva to its confluence with river Morava, a journey of over 100km. It was a romantic quest in wholly unromantic circumstances, an attempt to expiate the irreversible.

Bečvou, the album, is a travelogue of sorts, an aural chronicle of this journey. Arranged and composed around field recordings from the river banks, it also features Tomáš Niesner on guitar, zither and modular synthesizer, unlike many of his previous releases where he'd zero in on one instrument. Combining elements of fingerstyle guitar, musique concrete and drone, it's an elemental tapestry of enveloping textures, shimmering guitar motifs and soaring synth sounds. At one moment reminiscent of the meandering improvisations of East of the Valley Blues, at others calling to mind the ecstatic minimalistic compositions of Caterina Barbieri and oscillating between moods like dread and hope thoughout, Bečvou is Tomáš Niesner's most complete statement to date, fascinating in both concept and execution.

A limited edition 7” release by TARIKA BLUE, this outstanding band release two LPs back in 1976 and 77 on the famous Chiriucuro, label. DYNAMITE CUTS give you a super fresh loud 45 cuts.

Track A1 – “Dream flower” –Djs favorite, This wonderful mellow jazz class. Taken from the mega Rare self title LP “Tarika blue”. Sampled by many hip hop artist, most famous J Dilla for the Erykah Badu “Didn’t cha know”. Heavy jazz bass line.

Track B2 – “Jimi” this is an outstanding guitars solo monster. Similar too Maggot brain by Funkadelic, HEAVY Guitars with pure emotion and feeling “JIMI” features James mason & Ryo Kawasaki on the solo guitars

Wow, we’re so happy to reissue these incredible two gems from the mighty Brian Auger’s Oblivion Express. Mr. Auger is a superb Hammond organist & pianist. Known previously for his work with Julie Driscoll, Brian Auger & The Trinity in the 60s, Oblivion Express vibes kicked off in the 70s.
Our A side ‘Inner City Blues’ is a cover of the Marvin Gaye classic. A Hammond driven groove with a deep percussive backing and killer vocals, this version stands up as a banger in its own right, a must have cut!! b/w ‘Voices Of Other Times’ is one of my favorites from the Closer To It LP, a super funky, jazz-rock thang, up-tempo and includes a wonderful sample and loop. Dynamite Cuts DJs tool, and one for the collectors!

Both tracks are taken from the groundbreaking ‘Closer To It’ album from 1973 which was such a genre bending release it entered the US jazz, R&B and rock charts simultaneously. We release this amazing 45 with the permission & cooperation of Greg Boraman’s Soul Bank Music – who recently announced they have licensed Brian Augers’ full back catalogue to re-issue, including many previously unheard rarities from Brian’s personal archive.

In Kenyan cultural communities’ musical performance has always been linked with a long chain of related events and ideas. Music was often used to illuminate a specific topic and its implications to society. Through this method of explanation, musicians were able to reveal several underlying social concepts that determined people’s behaviour towards each other and the community.

This common recurring theme was seen mostly in ceremonies. African musical productions are abstract configurations that demonstrate a common fundamental creative principle of mediating the physical and metaphysical worlds. INSHA is centered on time and the evolution/relationship of these cultural-creative influences. The compilation inquires aspects of traditional cultures, physical or metaphysical from communities in Kenya, and act as inspirations and sonic paraphernalia. INSHA serves as a bridge between the past and future music creators on a more fundamental level than usual record keeping.

Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).

Dynamite Cut’s little sister, SKYLINE recordings, the UK’s home of funky beats has only gone and done it again with the one and only Mike Bandoni.

Most notably known as the main man behind UK Funk heavyweights, Funkshone, this sees Mike Bandoni making a welcome return to his solo work for this new 45 on Skyline Recordings. ‘I Thought Of You’ is a delightful slice of Funky Soul/Jazz that sees Mike playing everything! A superb drum sound with layers of Rhodes, live Bass, Clav, Percussion and Organ, the cut is so soulful it hurts. A prefect balance of rhythm and melody and all that we’ve come to expect of Mr Bandoni. The flip features a sparser but funkier tune ‘Matrices’. Elements reminiscent of Money Mark, the Meters and Bob James combine to form a cracking three and half minutes of bliss. Again, a killer drum sound and instrumentation to match. One thing is clear. The new Mike Bandoni sound is here to stay and we here at Skyline Recordings dig it!

Jalaluddin Mansure Nuriddin was an American musician and poet. He was one of the founding members of The Last Poets, a group of poets and musicians that evolved in the 1960’s. Earlier in his career he used the names Lightnin’ Rod and Alafia Pudim. He is sometimes called, “The Grandfather of Rap’, and wa a devout Muslim, poet, acupuncturist, and marital art expert. Nurridin’s talent and genius with words and rhythm are renowned. He produced some epic poems. The band featured on this release just happens to be the one and only Kool & The Gang.

Lightnin’ Rod feat Kool & The Gang – Hustlers Convention

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

Pressure is a new garage project produced by Dusky. Still typically resemblant of their trademark sound, this musical excursion looks back to their formative years and early productions that were heavily influenced by UK and US garage. Covering everything from murky 2 step sounds to uplifting vocal bubblers and soulful US influenced 4x4, the project includes collaborations with Manchester's garage revivalist Interplanetary Criminal, two-step pioneer El-B and London-based songwriter Mariella.

"When we were writing our most recent album JOY we really enjoyed the process of creating 'Eros', one of the more garage influenced tracks on the album. It reignited our interest in the genre's sound world, so once JOY was complete we got stuck into writing a load of similar material and this project is the result.” - Dusky

Finally a vinyl edition of the first release by Valencian electronic experimental band Mecánica Clásica. Originally released on cassette in 2019. Eight tracks of early electronic experimentation, meandering rhythms, minimal modular ambient passages and bleeping synth sequences. From Cluster to Craig Leon, from K. Leimer to Marc Barreca.

A journey to the inner reaches of the sound modulation.
Recorded, mixed and produced by Mecánica Clásica.
Mastered by José Guerrero at Plataforma Continental.
Artwork by María Gea

It’s difficult to describe Partiboi69’s sound; words feel subordinate to the energy and personality he presents. This personality bleeds into his sound, as seen with his latest EP ‘Naughty By Nature’, in which the Aussie enigma brings born boundary-breaker MCR-T into his ‘naughty’ nirvana.

Bridging the gap between Techno, Hip-Hop, Trance, Booty House, and a further multitude of other genres, MCR-T is, like his partner in crime for this EP, Partiboi69, equally difficult to categorise: a compliment that few modern artists can claim. His pioneering mentality makes him a perfect fit for Mutual Pleasure; a label that bulldozes genre boundaries for fun.

From the sweet, funk-infused bassline of ‘Go To my Show’, to the devilish ‘Blow My High’, to the wildly outlandish anthem ‘Sex In The Club’, and ultimately the brazen ‘Get Freaky’, every track within ‘Naughty By Nature’ has a mind of its own, and its own unique character.

To partner the infectious production of each track, both Partiboi69 and MCR-T flex their muscles with vocal work, as the pair masterfully manipulate the microphone to create a dynamic element to their sound; one that is totally controlled by the devious double act.

Despite their differences, each track shares a common ancestor in Partiboi69 and MCR-T: mischief, rebellion and exuberance are deeply embedded into their DNA, and consequently, these qualities characterise the overall personality of this EP.

The godfather of soul found himself dipping into jazz on this classic but lesser-known album, Soul On Top (Verse By Request Series). Now getting a proper reissue treatment it is sure to convert many new fans to his abilities across the six sizzling tracks from this 1969 album, which includes the classic 'It's a Man's, Man's, Man's World' and a new version of 'Papa's Got A Brand New Bag'. Brown provides the vocals to a 18-piece big band set up that was led by drummer Louis Bellson and arranged by Impulse! star Oliver Nelson. Brown always said he was a jazzman at heart and this goes some way to proving that, with saxophonist Maceo Parker adding plenty of vital swing.

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Three years after the release of his critically acclaimed album "Salone",
Bai Kamara Jr returns with "Traveling Medicine Man", a 13-track
collection of blues songs portrayed in Bai's unique style
In a descriptive, provocative and sometimes suggestive way, the tales of love, life,
relationships, politics and innuendo are meticulously explored by the
raconteur.''Traveling Medicine Man is the continuation of my introspective journey
through my roots and my perpetual quest to make my two homes, Africa and
Europe, coexist within me. The title was inspired by my maternal grandfather
Tinka Tanner Kargbo, born in 1901 in the Northern Province of Sierra Leone. He
was educated by the Wesleyan Missionaries and later traveled with them across
the country to help provide medical care to villagers and townspeople. I was
fortunate enough to have spent some time with my grandfather when I was still a
child, and one of the things that fascinated me the most about him was his ability
to reconcile his Christian beliefs with his traditional African beliefs and
customs.'' (Bai Kamara Jr)For the making of this album Bai brought his touring
band, The Voodoo Sniffers, into the studio; these exceptional musicians
contributed to Bai's unique and evolving sound. With a percussive nature at the
heart of the arrangements this rootsy blues is spiced up with an afro vibe, making
you want to get up and dance more often than not. May your listening experience
be soothing and pleasurable with a healing effect

Party Dozen is a sonic partnership loosely based on improvisation between saxophonist Kirsty Tickle and percussionist Jonathan Boulet. Their debut album, The Living Man, earned critical acclaim upon release in 2017. They've toured relentlessly ever since - each performance a trial of physicality and an expression of maximalism. Like the legendary Dirty Three, the members seem to meld into one mind, oblivious to the viewer. Tickle effortlessly navigates Boulet's ever-shortening attention span and wild tempo changes; form gradually materializes from chaos.

Known as the Soul Queen of New Orleans, singer Irma Thomas (born in 1941) is arguably the most underrated soul singer ever
Although her voice and musical expression are unparalleled, she never achieved the same degree of fame as her contemporaries Aretha Franklin and Etta James.

Nevertheless, her 50-year career has been highly praised in recent years, and she even won a Grammy in 2007. This 18- track vinyl release compiles all of the sessions she recorded with renowned producer Allen Toussaint, who also composed most of the songs. Here is one of America's most distinctive and classic singers, a treasure from the golden age of soul music.

All tracks recorded in New Orleans between 1959 and 1962 and originally issued on 45rpm singles

Miles Davis and Milt Jackson only recorded together on a few occasions, but those collaborations always produced superb music. Miles Davis and the Modern Jazz Giantsincludes one such collaborative effort - a unique 1954 quintet session that also features the great Thelonious Monk on piano.

These are the only existing studio recordings presenting Miles and Monk together.

Miles Davis, trumpet
Milt Jackson, vibes
Thelonious Monk, piano
Percy Heath, bass
Kenny Clarke, drums

Original session recorded by Rudy Van Gelder & produced by Bob Weinstock.


[b] A2. The Man I Love [take 2]
[c] A3. The Man I Love [take 1]

[e] B2. Bags Groove [take 2]
[f] B3. Bags Groove [take 1]