quête:original sin

During 1978 to 1980, Fashion released one album and a handful of indie club hit singles mixing Punk & Reggae vibes. They toured the US extensively supporting The Police in 1979. Limited Edition of 800 copies 2LP set with printed inner bags. All tracks completely remastered. Contains every studio recording of the first lineup of Fashion including US singles. Includes unreleased tracks. Liner notes from lead singer & Guitarist Luke Sky. Fashion went through several line-up overhauls during its initial existence between 1978 and 1984. John Mulligan (synthesiser, bass) and Dik Davis' (drums) were constants, but the band's frontman changed with each of the band's three albums. Post-punk years: Fàshiön Music Fashion was formed originally as Fàshiön Music, in Birmingham, England, in 1978, and consisted of John Mulligan (bass, synthesizer), Dik Davis (drums), and Al James (vocals, guitar). James became known as Luke Sky, or simply Luke or Lûke (short for "Luke Skyscraper" - a reference to the Star Wars character Luke Skywalker and the fact that James was tall and thin), while John Mulligan was known simply as Mulligan and Dik Davis simply as Dïk (or "Dik Mamba" on their debut single). In 1978, they also founded their own Fàshiön Music label; from this point forward, the band was generally (though not completely consistently) identified as Fashion, as distinct from the name of their self-owned label. Fashion released their first two singles ("Steady Eddie Steady" and "Citinite") as independent issues on the UK in November 1978 and June 1979 respectively. The group was quickly picked up by I.R.S., who put out a third single in the US in September 1979, "The Innocent". Their sound was varied, playing punk, post-punk and indie repertoire, although Mulligan at that time also had a synthesizer which later characterized the future synthpop years of the band. Still signed to I.R.S., in 1979 they recorded and released their first album, Product Perfect. All three members were credited as having written the songs collectively. Between 1978 and 1980, Fashion played shows with performers such as Toyah Willcox, UB40, Hazel O'Connor, & Billy Idol, who later became well known. A then-recently formed Duran Duran opened their shows; they toured the UK with U2, both the UK and US with The Police, and opened for The B-52's on their first British tour. In March 1980, no longer associated with I.R.S., Fashion released their "Silver Blades" single, again on their own Fàshiön Music label. Later in 1980 they also released one more song, "Let Go", on a Birmingham bands compilation called Bouncing in the Red (EMI). In June 1980, after a last gig in London with U2, Luke James left the band, and later moved to the United States.

Out of This World is the fourth studio album by the Swedish rock band Europe, originally released in 1988. It included four singles, “Open Your Heart”, “Let The Good Times Rock”, “More Than Meets The Eye” and “Superstitious”. The latter is arguably one of Europe’s most popular songs. The album was produced by Ron Nevison, who has been recognized four times by Billboard Magazine’s Top-5 Producer of the Year, has been nominated for several Grammy’s and worked with iconic bands as Led Zeppelin, Kiss, Thin Lizzy and Meat Loaf amongst many others.

Very limited double black vinyl, Download Card Included. No returns. This is for Indies Only. Seminal post–hardcore band Girls Against Boys are celebrating the 25th anniversary of the 1996 release of their critically acclaimed album House of GVSB with a double vinyl reissue of the album. Packaged in a full-color gatefold jacket, side A and B are the original album remastered by Bob Weston (Shellac). Side C and D feature odds and ends from the band’s 90s era work including sought-after b-sides, singles, compilation tracks, and one previously unreleased recording. Beginning February 4, 2022, GvsB will embark on their first tour since 2013. The band will be playing songs from across their entire catalog with stops in Chicago, Los Angeles, Washington, DC, and Seattle, among other cities. European dates to be announced soon. “the great ’90s post-hardcore thud-masters” Stereogum // “A pathbreaking hard-rock opus that plays like one long money shot” SPIN #5 Top Album of the Year

Very limited new repress coming, note new price. An air of the unsettled is a staple of Robert Lloyd’s career, from The Prefects’s dank dexterity and jittery paranoia of the first Nightingales’ release, Idiot Strength, onward through four decades of top-notch recordings. If the unique persona of Lloyd and crew always came across on their ten albums and countless line-ups, it was largely as an acquired taste of the musical cognoscenti. Labels good and bad seemed to feel, at one point or another, a public duty and a point of pride to release a Nightingales album before returning to the business of business. Four Against Fate is remarkable. It’s the work of what’s now the band’s longest-serving line-up. The instrumental precision of any version of Nightingales has been one of the band’s defining hallmarks, but the psychic interplay of a group can take a few albums to kick in with full majesty - here’s proof of that. The rhythm section of Fliss and Andi functions now on a purely intuitive level. Jim’s work now ranks with that of any guitarist in modern ‘rock’ music, not just in originality, but also across an egalitarian mass of inspiration. Each member sings. Although Robert’s voice functions as the band’s superego, Fliss takes lead in several songs. Few bands today sound as much like a single unit as do Nightingales, but this group has the bonus of a distinct and credible musical language, exemplified by The Desperate Quartet, which comes across as both a medieval war march and the anthem of looming apocalypse. When at the song’s halfway point, American classical musician Clara Kebabian’s violin and Mark Bedford’s (of Madness) double bass overtake the Robert, Fliss, Jim and Andi, it’s a jawdropper of such intense perversity that it alone defies the listener to not play the album again from the start. Not that this album lacks ‘hits’ - The Top Shelf, Everything Everywhere All Of The Time, Devil’s Due and The Other Side are stunners. Robert claims Four Against Fate is the first of his album on which he skips no tracks on playback! Finally, the world has awakened to one of British music’s last treasures. After forty years of new labels, this is the first time Nightingales have released an album on the same label as their last full-length.

7" Black Vinyl limited to 1000 copies.

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial town of Burnley and adopted by the Manchester culture carriers, their teenage years can be viewed as something of a hedonistic pilgrimage into the underbelly of suburban rock and roll- their first gig having been 3 songs blasted out their mates garage, the next on top of a local vintage shop where the floor nearly caved in: “when there’s fuck all, you make do with what you got”. The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. Together, brothers James Douglas Clarke (Guitar + Vocals) and Joe Clarke (Keys), along with Joey Stein (Lead Guitar), Naham Muzaffar (Bass) and Sam Launder (Drums) all contribute to a fuzzy wall of diverse sound, becoming harder to pin down with their constantly evolving, psych-umbrella’d, rock and roll. What sets THE GOA EXPRESS apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time. Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride. With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes THE GOA EXPRESS a guitar band for the 21st Century. Nothing is ever a compromise because they are so unapologetically themselves in everything they do- proud Northerners with a DIY foundation that aren’t afraid to look into the often dim future and see themselves shining brightly in it, unforgiving and unpretentious. So far, the band have released 3 singles with great success. The first: ‘Be My Friend’, produced by Ross Orton right next Sheffield’s famous ‘City Sauna’ brothel, presents itself to us as a cheeky, snarling pop song, holding undertones of raw cynicism laden with psychedelic sunshine. Ross Orton’s studio was also right next door to where the band recorded their last single ‘The Day’ with Nathan Saoudi of Fat White Family at ‘Champ Zone.’ Both these producers have been able to give these instant pop classics a grittier feel, capturing the essence of the unfettered lifestyle the band were living at the time that they were able to capture themselves in the music video for ‘Be My Friend’. After signing with Ra-Ra Rok, (WU-LU/Bingo Fury) the band released anthemic summer hit ‘Second Time’, that went straight to the 6 music B-List before quickly heading up to the A-List 2 for 2 weeks. This was followed by the release of its B-Side ‘Overpass’ that almost immediately caught the eyes and ears of BBC Radio 1’s Jack Saunders, who had the band on his ‘Next Wave’ Segment. Closing the year that saw them play to 1000 strong crowds at festivals like Latitude & End of the Road, the band headlined their biggest headline show to date at Manchester’s Gorilla. Its fair to say that this really is only the beginning.

“Little” Anthony Gourdine and the Imperials were originally a late Fifties U.S. doo-wop group who had a million-selling hit with their first single “Tears On My Pillow” in 1958. More hits followed, into the Sixties, including “I’m On The Outside Looking In”, “Goin’ Out Of My Head” and “Hurt So Bad”. But, our two chosen sides from 1966: “Better Use Your Head” and “Gonna Fix You Good (Everytime You’re Bad)” taken from the album Payin’ Our Dues failed to cause a stir at the time. Both earned U.K. releases on United Artists but would have to wait a further ten years before seeing any U.K. chart action, peaking at #42 when reissued back-to-back on U.A.’s Silver Spotlight Series. However, both sides became undergound Northern Soul favourites, first at Manchesters Twisted Wheel when “…Fix You Good” filled the floor and later, in 1975, when “Better Use Your Head” packed the ballroom at the legendary Wigan Casino.

Straight from the melting pot of Berlin, Luca Musto serves up a solid and fresh house dish in his first album on Moodfamily.

The songs stretch the imagination and touch the borders of hip hop and electronic beats. He intertwines his own musical journey with the sounds of his hometown. It is also the attempt at a new genre by blending hip hop elements with electronic music to create something unique.

This funky fusion expresses itself in three original tracks. “What We Witness” introduces us into the rhythmic exploration of the record. It adds some spicy P-Funk vibes and blurs your senses with drowsy horns, served on a velvet platter. "Toledo" - the first single of the EP - gives a thrilling continuation to the EP. This one is sure to cause a ruckus on the dance floor. Finally, “Keep Rollin” further defines the genre-blending character of this project, and gives a slight nod to the West coast of the US.


Xinobi (Lisbon, Portugal / Discotexas) and Mosley Jr. (Gent, Belgium / Moodfamily) deliver some exciting remixes to the EP, both with their unique signature spin.

- “This shit’s gonna break the rules.



Early support from Support Super Flu, Audiofly, Acid Pauli, Florian Rietze, Maxim Lany, Be Svendsen, Maga, Iorie, Stavroz, Paco Osuna, …

Sound Signature is proud to present a re-issue of the 7-inch single from Sundown titled "Spaced Outta Place".
Composed by Amp Fiddler, Spaced Outta Place was originally released in 1981 on Parkside Records.

‘Aloha Got Soul’ encompasses a vibrant era of contemporary music made in Hawai’i during the 1970s to the mid-1980s as jazz, rock, funk, disco and R&B co-existed alongside Hawaiian folk music. Hawai’i’s identity had undergone huge change: statehood into America in ‘59 and the Vietnam War were the backdrop as Hawai’i’s youth found inspiration in a new wave of international music led initially by The Beatles and Stones and, later, by US R&B bands like Earth Wind & Fire and Tower Of Power. Garage bands flourished during the ‘60s and, by the ‘70s, live music was at its peak. Waikiki was filled with clubs: The Point After, Infinity’s, Hawaiian Hut, Spats and more.
For the ‘70s generation of artists, some came through the talent contest ‘Home Grown’ and its accompanying compilation LP. In 1978, Hawaiian was made the official state language and a huge movement arose to revive hula and traditional music. Steve & Teresa’s ‘Kaho’olawe Song’ longs for an island long gone: the US military had used Kaho’olawe as a bombing range since Pearl Harbor. Nohelani Cypriano sang about the once sleepy town of Kailua, now a popular tourist destination: “Kailua needs no high-rise with her blue skies, not for our eyes. Can you realize?” Leading Hawaiian artists like Aura, Mike Lundy and keyboardist Kirk Thompson’s Lemuria took time in high quality facilities like Broad Recording Studio to make albums. Others grabbed studio time when they could: Tender Leaf’s Murray Compoc worked for the city bus by day and recorded an album during night sessions. Other albums were spontaneous. In 1983, Steve Maii & Teresa Bright recorded an acoustic set in just 3 hours after being invited to a studio following a gig.

For the artists of the ‘70s, the climate for music changed rapidly during the mid-‘80s as DJ culture grew and live venues shut down. Hawai’i’s R&B era shone brightly and relatively briefly but, despite brilliant musicians, regular gigs and LP releases, most of the music barely made it to the mainland. Thanks largely to Aloha Got Soul’s Roger Bong, a new interest in this fertile era of Hawaiian music has grown, culminating in this compilation of overlooked gems. ‘Aloha Got Soul’ is compiled and annotated by Bong and features rare photos and original artwork.

Lost somewhere between the mysterious alleys of 70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is set to be released on Batov Records on April 1st.

The Şatellites’ sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honouring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in Yağmur Yağar Taş Üstüne, the band add fire and flair to time-honoured pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor’s track Olurmu Dersin, and musician and guitarist Zafer Dilek’s Yekte, the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek 4 double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Kaçkar mountains in Turkey’s eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites’ union, and plays predominance throughout the bands’ album and music.

In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called “Anatolian Rock” and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music.

As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, Şatellites emphasise that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honour this amazing culture and to present it to the world in a more accessible and attainable form.

Recorded in 1991 by the quintet of vocalist Billie Ray Martin and Birmingham-based electronic musicians Brian Nordhoff, Joe Stevens, Les Fleming and Roberto Cimarosti, Electribal Soul was conceived as the sequel to the band’s 1990 debut album, Electribal Memories.
Electribal Memories had yielded the hits ‘Talking With Myself’ and ‘Tell Me When The Fever Ended’ and pushed Electribe 101 to the forefront of a crossover electronic scene that fused dance music with pop savvy. They were snapped up by Phonogram, managed by Tom Watkins and hailed as “the next band to meet the Queen” by i-D. The band took the coveted support slot for Depeche Mode on their epochal World Violation tour and supported Erasure at Milton Keynes Bowl. Seen as the next big thing, everything pointed toward enduring critical success for Electribe 101, and the band settled into putting their second album together.
“There was a degree of confidence among us when we came to write the second album,” recalls Billie Ray Martin. “To me, the songs we put down sound like some of our finest moments.” More immediately lush and warm than the dancefloor-friendly structures of Electribal Memories, the clue to the sound of Electribal Soul lies in the second word in its title: soul. Songs like the aching sensuality of opening track ‘Insatiable Love’ or the emboldened defiance of ‘Moving Downtown’ showcase Billie Ray Martin’s distinctive vocal range as it moves from haunting quiet to dramatic, euphoric rapture. Lyrics from ‘Moving Downtown’ had found their way into ‘Pimps, Pushers, Prostitutes’ by S’Express, and the song would appear as ‘Running Around Town’ on Martin’s 1996 solo album. The strikingproduction on the version of the song presented on Electribal Soul suggests classic late sixties soul influences, such as those of legendary Motown producer Norman Whitfield, with the long shadow cast by Kraftwerk never being far away.
‘Deadline For My Memories’, the song that provided the title for Martin’s first solo album, was originally intended for the second Electribe 101 album. Its lyrics document a sense of freedom and liberation from the darkness of a bad relationship, accompanied by jazzy piano and organ sounds over a quiet rhythm and discrete electronics. In contrast, ‘A Sigh Won’t Do’ finds Martin in soothing vocal mode, despite its devastating message about the final ending of a strained relationship, her lyrics framed by restrained and subtle beats and sounds.
To spend time with Martin’s voice on Electribal Soul is to find yourself moved deep into the ordinarily impenetrable emotional corners of your own psyche. “I was into big ballads at the time and listening to all kinds of US and UK singers, and I was also young enough to want to prove myself as a belter of ballads,” explains Martin of the classic soul edge the album showcased.
Electribal Soul heads into darker territory with ‘Hands Up And Amen’. Originally written by Martin in Berlin in the period before moving to London and forming Electribe 101, the song was then perfected and enhanced by the band’s production nous. ‘Hands Up And Amen’ savagely documents the mugging of a woman in Queens, NY at gunpoint, only to resolve itself with a middle section that nods reverently toward gospel tradition. The song coalesces around a regimented break and burbling synths, finally ending with layers of urgent synth sounds.
Meanwhile, a cover of Throbbing Gristle’s ‘Persuasion’ takes us into a seedy world of sexual coercion and creepy infatuation, predating Martin’s chilling version of the track with progressive house unit Spooky two years later. Supported by a minimal, nagging rhythm and barely-fluctuating sounds, Electribe 101’s take on ‘Persuasion’ makes for uneasy listening, even though Martin manages to inject a sort of twisted sympathy for the protagonist as the song progresses.
That Electribe 101 were as comfortable offering complicated, nuanced tracks like ‘Persuasion’ alongside pop house bangers like ‘Space Oasis’ – written by Billie Ray Martin with Martin King before Electribe 101 was formed – is testament to the way the band wove their way effortlessly through electronic music reference points. Framed by light, jazzy piano melodies and string sounds, the energy of ‘Space Oasis’ soars so high that it could easily reach the moon, while highlighting how well-suited Martin’s voice has always been to club music. We hear the same reminder of her dance music credentials on ‘True Memories Of My World’, finding her describing a Hollywood actress who reflects on being used by directors to sell her ‘tears’.
Hooking up with the Birmingham-based Nordhoff, Stevens, Fleming and Cimarosti after placing a Melody Maker ad in 1988 (“Soul rebel seeks musicians – genius only”), it was clear that Martin had found a group that recognised the unique power and importance of her voice. Having worked with genres as diverse as reggae, rock and R&B, the four producers proved to be perfect collaborators, presenting carefully-sculpted backdrops that emphasised the towering emotional dexterity of her voice.
“Listening back to these tracks now, I was reminded of what a bunch of great musicians they were,” says Martin. “They had a rule that if a part still sounded good after a day or two then it could stay. If it bothered the vocals, it would go.” Even more so than on Electribal Memories, Electribal Soul places Martin at the captivating centre of these pieces, surrounding her voice with everything from dubby rhythms to chunky R&B beats to nascent trip hop breaks; wiry, acid-hued synths uncoil gently without ever dominating, while horn samples and lush, disco-inflected strings provide a rich, naturalistic accompaniment for Martin’s emotional outpourings.
The band finished mixing the album at London’s Olympic Studios in 1991. They were assisted by Apollo 440’s Howard Gray on production duties for ‘Deadline For My Memories’, ‘Insatiable Love’ and ‘Space Oasis’, with Gray supported by talented engineer Al Stone. Pre-release promo tapes were issued and an enthusiastic energy started to build around the band’s anticipated second album.
It was not meant to be. Against a backdrop of a worsening relationship with Tom Watkins, and a disinterested Phonogram, instead of receiving a positive reaction to the new tracks, Electribe 101 were swiftly dropped by their label. Electribal Soul languished, unreleased, and the band yielded to pressures that had been building and split up. After collaborating with Spooky and The Grid, Billie Ray Martin went on to release her seminal debut solo album in 1996, with it securing the era-defining hit ‘Your Loving Arms’, while the other group members continued to work together as The Groove Corporation.
Thirty years after the songs were recorded, we’re now finally able to hear what the second and final chapter of Electribe 101’s story sounded like. Electribal Soul shows that the band had really only just got started when they dropped their first album in 1990. Heard only by a select and privileged few, what followed elevated the band’s music to a completely new level, making Electribal Soul musical buried treasure of the most precious and rare variety.
Electribal Soul will be released on LP, CD and digital formats on 18th February 2022 through Electribal Records. The physical formats include extensive liner notes from Billie Ray Martin, and the album sleeve features unseen archive photographs by Lewis Mulatero from the original 1990 sessions with the band that were never used in the sleeve designs for Electribal Memories.

Les Disques du Crepuscule present a new, remastered vinyl edition of Quart de Tour, Mon Amour, the highly collectible debut album by enigmatic Belgian duo Piscine et Charles, originally released by the label in 1984.

This remastered 2021 reissue retains the original cover art, as well as adding text and previously unseen images from the Piscine et Charles archive, plus a digital copy (MP3). A limited edition of 500 copies only has been pressed on turquoise vinyl.

A duo comprising Dominique Outers and Luc Raemdonck, Piscine et Charles taped their debut album at Daylight Studio in Brussels with engineer Didier de Roos (Univers Zero, Tideline), along with several guest musicians and classical singer Lucie Grauman. A concept album of sorts, Quart de Tour, Mon Amour (which translates as Quarter Turn, My Love) combines literary lyrics with music described as a ‘neat fusion of coldwave, electronics and lounge-jazz, predating acid-jazz by about five years and conjuring impressive atmospheres.’

Despite failing to reach a wide audience at the time, the album has since become a sought-after collector’s item, with the title track recently appearing on acclaimed anthology set Uneven Paths: Deviant Pop From Europe on Dutch label Music From Memory. ‘A very unique sound, Piscine et Charles explore a poetic, romantic and enigmatic musical realm where synth-pop meets jazz and spoken word.’

Clear Vinyl Repress!!!

The landmark hundredth single on Phantasy, Erol Alkan’s ‘Automatic’ accompanied with two remixes that further take the London DJ and producer’s psychedelic club vision in distinct directions. The original 12" pressing, limited to 100 and hand-numbered, sold out in less than an hour.

Palms Trax builds on the sensual reverie of Alkan’s production with an electrifying rework full of touches both French and personal. Throwing out a gloriously chic bassline, the Berlin-based producer sprinkles carefully considered sweeps, stabs and filters on a trip to timeless house euphoria.

Mirroring the first ever artist to release on Phantasy in 2007 where Alkan remixed 'Engine', LA Priest proves a perfect candidate to reconstruct the label’s centenary single, a task he approaches with typically esoteric nous. Coaxing a heavenly aura from the original’s glorious loops, Sam Eastgate’s collection of reengineered and self-made analogue equipment soon progresses to melt Automatic’s rhythm into sticky cosmic bliss.

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

LeSale is back with the Synchronized EP, which marks his fifth solo EP on Luv Shack Records.

The title track is LeSale´s first foray into boogie-funk, featuring lyrics and vocals by Kathy Diamond, one of the great voices of the early nu-disco era and former singer of the duo KDMS, as well as tape mixing by vienna based studio wizard Sam Irl. "Synchronized" comes in 4 versions; the classic vocal mix featuring the full vocals by Kathy Diamond, the instrumental mix which is stripped of the vocals entirely, the extended dub mix, featuring arrangement and additional overdubs by Sam Irl, concentrating on the bare,funky essence of the track and finally a special remix by Ooft!.

The Ooft! remix lays a club foundation for "Synchronized", taking it to proto house territory with a sparse use of original vocals and additional drums, synth leads and pads.

As a bonus original track, we get "Superfluid", an upbeat elektro-funk journey with the right amount of

Judee Sill was an American singer and songwriter. She released two albums and partially completed a third album before her death in 1979. Sill encountered Graham Nash and David Crosby and toured with them for a time as their opening act, a year before the release of her debut album. She was hired by the Turtles to write songs, on which a few of them appeared on her debut album, such as 'Lady-O'. Two of Sill's biggest influences were Bach and Ray Charles.

Judee Sill's eponymous debut album of the same name was originally released in late 1971. Backing musicians include John Beck and Jim Pons from the Leaves. The majority of the album was produced by Henry Lewy, noted for his work with Joni Mitchell throughout the 70s. Graham Nash handled the duties for the single 'Jesus Was a Cross Maker' with his production designed to aim for radio airplay before the release of the album. Judee Sill featured Sill's voice in multiple overdubs, often in a four-part chorale or fugue. The songs are delivered in an acoustic style on guitar and, for 'Jesus was a Cross Maker' and 'Enchanted Sky Machines,' on piano. The songs on the album feature elements of folk, country, and gospel, but also strong classical influences.

Phantasy are proud to present the vinyl re-issue of Mystery Jets’ seminal 2008 album ’Twenty One’. Produced by Erol Alkan, the beloved LP includes hit singles ‘Young Love’ and ’Two Doors Down'.

The LP is available to pre-order now on deluxe coloured vinyl. The deluxe edition features a bonus disc of previously unreleased demos and rare B-sides.

“Of all the messages we’ve received from our fans over the intervening years, the single question that has come up more than any other, is ‘When will Twenty One will be released on vinyl again?’. Much to our frustration, our response has never been anything more than a helpless, resounding shrug. That is, until now.

The year being 2021, and all the band being firm believers in the powers of numerology, we felt there would be no better time of telling you that for the first time since its release, Twenty One will finally be available to own on vinyl again. As well as reissuing the original album, we have also dug through the archives and compiled a special selection of never-heard-before outtakes, demos and rarities from that era to accompany the deluxe version of the album.

We are delighted to be reissuing the record via Phantasy, the label founded by Erol Alkan, who produced Twenty One and mentored us to make an album we’re still immensely proud of. This is the record you have been asking for, and the one we always wanted you to hear.

Phantasy are proud to present the vinyl re-issue of Mystery Jets’ seminal 2008 album ’Twenty One’. Produced by Erol Alkan, the beloved LP includes hit singles ‘Young Love’ and ’Two Doors Down'.

The LP reissue is available to pre-order now!

“Of all the messages we’ve received from our fans over the intervening years, the single question that has come up more than any other, is ‘When will Twenty One will be released on vinyl again?’. Much to our frustration, our response has never been anything more than a helpless, resounding shrug. That is, until now.

The year being 2021, and all the band being firm believers in the powers of numerology, we felt there would be no better time of telling you that for the first time since its release, Twenty One will finally be available to own on vinyl again. As well as reissuing the original album, we have also dug through the archives and compiled a special selection of never-heard-before outtakes, demos and rarities from that era to accompany the deluxe version of the album.

We are delighted to be reissuing the record via Phantasy, the label founded by Erol Alkan, who produced Twenty One and mentored us to make an album we’re still immensely proud of. This is the record you have been asking for, and the one we always wanted you to hear.

Green Vinyl

"CCR - Club Culture Rarities" the new record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

The 5th release on "CCR - Club Culture Rarities" FUNKY IS ON of Funky Family originally released on THIRD LABEL in 1984


Another hot mix for most sofisticate Italo Disco Lovers.
Funky is On by Funky Family, was never a popular commercial hit, but more an high valued rarity. Produced by Nicola Nicolosi from Nicolosi Family this tune represents a real example of proto-house. Since it first release in 1984, it became a Chicago classic and always an hot mix for most sophisticated Italo Disco Lovers.


Ask for it and stay tuned.

BMX Bandit's Life Goes On returning to Vinyl, some 29 years after its
original release

Featuring the smash hit singles "Serious Drugs" and "Kylie's Got A Crush On Us" Life Goes On, was originally released on Creation records.We shall make it available on vinyl and present the album in totally redesigned sleeve, more in keeping with Duglas' original vision.