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The album classic from from 1982 re-issued. All music recorded at Channel One and mixed at King Tubby's studio by Scientist, as backing band the Roots Radics in fine style. A top-a-top Henry 'Junjo' Lawes production. Riddim directory note: "Love In A Mi Heart" is a reminiscence of "Bubble Up", the title track "Chip In" is based on the Prophecy/Peanut Vendor riddim and "Saturday Night Jamboree" is on the same riddim as Eek-A-Mouse's "Noah' Ark".

This album, recorded live after the release of Bertrand Burgalat's first album (The Sssound of Mmmusic, 2000), is a unique testimony of a passionate encounter, of explosive concerts and an exceptional musical adventure, a mixture of soulful rhythms, oniric keyboards and songs with chiseled lyrics and harmonies.

Out of stock on vinyl for decades, it will be reissued and published in December 2022, with a text by Philippe Manœuvre. 21 years after its first publication, it has not aged a bit. It includes tribute covers ("Follow Me" by Amanda Lear, "Tears Of A Clown" by Smokey Robinson), and a version of "Easy Tiger", recorded at the same time for Depeche Mode.

"This album brings back the great psychedelic concerts that Bertrand gave at the time. For me, Aux Cyclades électronique is in the running for the title of most beautiful song in the world, I haven't changed my mind."
Philippe Manoeuvre, excerpt from the innersleeve note, April 2022

"A.S Dragon is arguably the best French rock band of today. Nearly an hour of psyche-magnetic madness, the spectacular collision of a Gainsbourg theorist playing his melodies to a Jefferson Airplane from Clignancourt charged with pushing all galactic limits."
Philippe Manoeuvre, Rock & Folk, October 2001

"Bertrand Burgalat meets A.S Dragon could satisfy both French Touch fans and Rock'n'Roll purists. It sounds like the resurrection of a sixties garage rock band, somewhere between Detroit and Combs-la-ville. Burgalat for charity."
Philippe Barbot, Télérama, November 2001

"This is a fantastic remix! It sounds a bit like 70's funk. Bertrand has taken the song and reworked it from top to bottom, re-recording people on every part. It sounds like a James Bond song. It's really one of the best remixes we've ever done. "
Martin Gore (Depeche Mode) on "Easy Tiger", Magic, May 2001

"I wish this song could last my whole life..."
Virginie Despentes, on "Aux Cyclades électronique", "Vernon Subutex

Wiederveröffentlichung des Greensleeves Longplayer von 1984. Am Mischpult saß Phillip Smart (neben Scientist und Prince Jammy der dritte Meisterschüler von King Tubby), mit den Musikern Bass: Paul Henton, Drums: Donny Marshall, Guitar: Errol Moore, Guitar Lead: Donovan McKitty, Keyboards: William Brown, Horns: Derek Hinds. Der Titelsong ist ein absoluter 'Classic Tune' der Reggae-Historie und basiert auf Jackie Mittoos 'Hot Milk' Riddim.

Das unveröffentlichte Dub-Album aus den 80ern von Lloyd James, 1947 in Montego Bay Jamaika geboren und besser bekannt als Prince Jammy und späterem King Jammy! Hier finden sich unter anderem sehr gesuchte Dub-Versionen zu Black Crucials "Mr Vincent", Junior Reids "Higgler Move" oder Anthony Johnson "Yah Wi Deh". Eine tolle Vinyl Ergänzung zum 4CD Box-Set Vol.6 in der "Evolution Of Dub"-Serie.

Yellow Vinyl

In autumn 2019 the label Beat Art Department released Soia's third album "Where Magnolia Grows" with great success. With "Where Magnolia Grows Remixes" the album gets a new coat of paint. A handful of greats from the European hip-hop scene were won over for the remixes. L One (ATP Crew, Beat Art Department) and C.O.W.? (Compost Records) from Munich, Moo Latte (U Know Me), Copenhagener by choice, from Warsaw, Franchise and MEZ, both from Vienna and FVLCRVM from Bratislava.

Moo Latte provides the first remix of Soia’s “Where Magnolia Grows” album, and took “Fractal Spirits” for a new ride! The two Hip Hop/Neo Soul/Jazz artists first met on Soundcloud and have been sending vibes through the ether between Copenhagen and Vienna since then. The “Fractal Spirits” Remix is a first taste for their upcoming EP called “Spiritual Housekeeping".

The second “Where Magnolia Grows” Remix EP teaser re-work comes from C.O.W. ?.
Running with the cows. Soia’s sound is so exceptional that the German-Chinese producer collective didn't have to think twice when asked to remix her success single Running With Wolves. This chilled but pressing version is another highlight in the collective's career…

As the third remix comes the smooth, laid back “My Tiny” Remix by Bavarian beat smith L One.

For the new remix from Soia's "Where Magnolia Grows" album, Bratislava-based house producer FVLCRVM has taken on "Hoe For Love". FVLCRVM made a real floor filler out of the slow jam "Hoe For LOVE" with a mixture of house, glitch and broken beat.

Death Is Not The End launch sub-label 333 with a first-time vinyl reissue for the late Devon Russell's Darker Than Blue LP - put together as a tribute to the great Curtis Mayfield. First issued in 1993 but featuring material originally recorded as far back as 1979, the collection includes a cast of prominent players across it's 10 tracks - featuring musical contributions from Sly Dunbar, Aston "Family Man" Barrett, Earl "Wire" Lindo, Dean Fraser, Bobby Ellis, Leroy "Horsemouth" Wallace, Prince Lincoln Thompson and many others - plus production & arrangment from Earl "Chinna" Smith, Sly Dunbar & King Tubby's Firehouse Crew alongside Russell himself. Limited to 333 copies.

"The concept for Darker Than Blue dates back to 1979. Returning from South Amerrica with my partner (in duo Lloyd & Devon) Lloyd Robinson, we did "Red Bum Ball" which had been a massive hit in the 60's. It was around this time that Earl Chinna Smith (of The Wailers and Soul Syndicate fame) approached me with the idea of re-making some Curtis Mayfield songs. "Darker Than Blue" was the first track we did, followed by "Move On Up" in 1981, both of which received great reviews.

On returning to Jamaica from a UK tour in 1986, my good friend King Tubby had taken on five men from my school of music, from which the Firehouse Crew were born. Within 3 years they had matured to become Jamaica's No.1 instrumental band, winning the Rockers award. Then in the spring of 1990, together we managed to record the album "Money, Sex & Violence", during a tour of the UK & France, on which we did Mayfield's "Give Me Your Love". The track was played to Steve Barrow who suggested we do more Curtis tracks.

Sly Dunbar and I have known each other for as long as I can remember. We grew up in the same hood and used to jam regularly in our youth. I told Sly about the further Mayfield tracks I wanted to do and he agreed that it would be a good idea. So Sly, myself and The Firehouse Crew went to work at the Leggo Studios in Kingston, Jamaica and created the remaining tracks for the Darker Than Blue LP, a tribute to Curtis Mayfield.

We grew up on the sounds of Curtis Mayfield and The Impressions. Everyone in Jamaica loved them. His death was a terrible thing, but while there is life, there is hope."
- Devon Russell, 1994.

333, under license from Prestige Elite Records Ltd.

2022 Repress

Jamaican love songs always came across as heartfelt poetry whether they conveyed a broken heart, unrequited love or even the message ‘it’s all over don’t bother to come back’ anecdotes. But whatever the mood the singers of these songs were so good and versatile that putting such
subject matter over in a few verses was always so moving and believable.
 
Jamaican love songs were a constant in the ever evolving sounds and
journey’s that reggae music took us on, from ska to rocksteady to the early reggae sounds of the late 1960’s early 1970’s. We have complied a great selection of songs that all deal with that timeless subject matter. Max Romeo’s heartfelt ‘Sometimes’ opens our set in fine style, known more for his roots singing this song proves what a great singer he is. The Melodians a great Jamaican vocal group are featured here with ‘Best Girl’. The Sensations provide us with our title track ‘Born To Love You ‘and the theme for this compilation a great rocksteady tune with fantastic harmonies. Alton Ellis gives us the soulful ‘Room Full Of Tears’. Ken Boothe
provides us with his rendition of Dennis Brown’s ‘Money In My Pocket’  the ode that money cannot buy you everything. Cornell Campbell sings one of his most overlooked classic songs with his prideful `She Wears My Ring’. The great singer of love songs  himself  Mr John Holt tells us that we should all `Reconsider’, before giving up on love and a great lost singer Monty Morris gives us two great examples of how to find love in `Do It My Way’ and `Magic Moments’.
A great selection delivered as only Jamaica can do with style and feeling…….

Hope you enjoy the set …greetings from Jamaica… love songs for all…

"Favourite tunesThe tunes are like my children....there is a whole heap of them !! Iwant to tell you this though...some of them i never released properly but 'A Class Girls' through it was the first one me love that, the rhythm! I don't know how the song never hit in Jamaica but listening to it back now its like you are branding the girls A and B so (perhaps) the girls weren't happy with it.But it was a good tune,wicked tune.
Tony Chin wrote it ,but it was Tony Chin and Chinna who taught me these thingsso I have to lovethose men forever"
Ossie Thomas

Triston Palmer was born in 1962 and grew up in Waltham Park,Kingston.
Triston knew from a very early age that he was destined to become an entertainer and his first visit to an recording studio at the age of 16 was with Ossie Thomas.
Their initial release was 'A Class Girls',which was a hit in England and Triston's subsequent releases on their Black Solidarity label laid the foundation for his rapid rise to dance super stardom.
As the 80's progressed and Dancehall began its inexorable rise to ubiquity the popularity of Triston Palmer who had 9 songs in the top forty was unstoppable.
So sit back and enjoy this selection of killer tunes.....

Repress of the 2010 classic “The Jazz Files” by Dexter from the legendary Hi-Hat Club series. Jazz is the subject!

Dexter is taking an new look at the long going love affair between hip-hop and jazz. From Stetsasonic to Gang Starr to Madlib, it is not an easy path to follow, but the 26 year old producer is adding a new and fresh style to it. The sound design of Dexter's "Jazz Files" is dusty but with an unmistakable 2010 twist. As much inspired by Wes Montgomery and Ramsey Lewis as by Sun Ra and Dave Pike, Dexter's tracks are never just "jazzy". They live and breathe jazz by combining the freedom and artisty of jazz with the craft of a free-thinking beatsmith.

And the "Jazz Files" are fun too. By implanting quotes an samples from interviews and tv shows such as the classic NBC program "The Subject Is Jazz", Dexter is telling his own little story of jazz. One that had it's starting point in the massive record collection of his father and grew into shape during a long hot summer blasting nothing but Ahmad Jamal and Sun Ra.

About Dexter: The 26 year old producer, DJ and MC is part of the Wortsport collective from Heilbronn. He has made beats for Morlock Dilemma, Damion Davis, Jaques Shure, Audio 88 & Yassin and Retrogott. He likes Flylo, Madlib and Oh-No as much as libary music, psych rock and Amiga Schlager. Dexter is one of the founding member of the Generation Tapedeck blog and has just started a new project with Suff Daddy.

About the Hi-Hat Club: MPM have teamed up with photographer Robert Winter to take a look behind the beat, into the bedrooms and makeshift studios of today's beat generation. Every Hi-Hat Club volume consits of an LP packaged with Rob's photos and accompanied by more pics on the Hi-Hat Club blog plus additional infos, free beats and drinks. Exhibitions in records stores and galleries are in the making too. Hi-Hat Club parties have been taken place in Cologne and Berlin so far. Watch out for more nights in 2010.

Musically the Hi-Hat Club promotes total artistic freedom. We are not bound to any sound or school. A Hi-Hat Club record can be anything from boom-bap to aqua crunk or whatever is fresh and dope.

* The 7” A side, ‘My Homeland’, is a Sax/Hornz instrumental track and features top Jamaican Hornzman, Alvin Davis. The B side has a heavyweight Dub from Alien Dread.

Alvin is also well known ref Jazz and other musical areas, as well as Reggae and has worked with many Jazz, Soul and mainstream artists including: Andy Hamilton, Rose Royce, Prince, Edwin Starr, The Foundations, Neville Staples (Specials & Fun Boy Three), Jackie Graham, Nigel Kennedy and Reggae-wise, Alton Ellis, Macka B, Maxi Priest and David Hinds (Steel Pulse) and many others.

An alternate version of A side track will be featured on the forthcoming Alvin Davis & Alien Dread album: Dreadland (Iron Sound).

Bill Summers is a latin jazz percussionist from New Orleans who ventured in to jazz funk and soul in the 70s and early 80s. He also played with Herbie Hancock’s Headhunters and worked on film scores such as “The Color Purple”. He recorded four albums for the Prestige label from which these two rare groove vocal tracks are taken. The two-stepper “Come Into My Life” was written by Alphonse Mouzon and produced by Skip Scarborough (Earth Wind & Fire). Originals on both songs sell for £50 each, if you can find them, two for price of one here. “Don’t Fade Away” features vocals by Leo Miller and was produced by Ndugu (Chocolate Jam Company/The Crusaders). From The period, Bill Summers had a disco hit with “Straight To The Bank”.

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

Erstmals auf Vinyl: Das zweite Album des britischen Singer/Songwriters Matt Hales aka Aqualung von 2003 mit der Single 'Brighter Than Sunshine'. Mit zusätzlicher Bonus-LP mit Liveaufnahmen aus 2004 aus der St James Church und dem Shepherd's Bush Empire. Himmelblaues Doppelvinyl.

- 'A stunning collection of mostly fragile songs that reels you in and chills you out.' - The Times
- 'A tingling, shimmering collection of gorgeously crafted songs from Matt Hales.' - Telegraph
- 'Unquestionably the greatest collection of painstaking, finely wrought pop to be released this year.' - Sunday Times

incl. dl code

Patås premieres his new label LEK with 4 tracks toying around in the Techno/broken beat spectrum. "Måsans dødsleie" (Måsans deathbed) starts the EP following the last journey of Måsan, a character that everybody knows; the one guy in every group of friends that just cant stop partying, the re-uper to re-up them all.

Glitchy percussion, freaky synthriffs, and a heart monitor guides him all the way to the great beyond. Ethereal "Atlantic Potion" (made in collaboration with Canadian Jamie Cox) closes the side out with its cold lushness. On the other side the theme music from Final Fantasy 6 gets reharmonized and redrummed in "Hommage a Uematsu", for some guaranteed nerd chills to all you JRPG clubbers.

Last track "TMA 4ever (Patås remix)" turns Kim Dürbecks epic ambient tune into a broken beat journey with accompanying bird sounds and hectic percussion.

1200 x Signed Prints

“Mrs Wibbsey, you may have done something absolutely catastrophic!”

For the first time on limited edition vinyl, Demon Records presents a second series of unique audio adventures
starring Tom Baker as the Doctor, following the success of Doctor Who - Hornet’s Nest.
Once again every copy includes an exclusive, frameable portrait of the Fourth Doctor, hand signed by Tom Baker
himself - just one of the treats inside this stunningly designed package.
An intricately die-cut, removable outer sleeve reveals a Demonic lidded box, inside which are 10 individual, beautifully
illustrated LP sleeves featuring full cast and credits for each of the five stories.
The Time Lord’s encounters with the mysterious Demon are detailed in The Doctor’s Journal, a large 16-page full
colour booklet featuring notes and illustrations from this epic pursuit through Time.
Presented across 10 x 140g alternating Red and Black vinyl discs, this full-cast audio adventure by Paul Magrs stars
Tom Baker as the Doctor, with Susan Jameson as Mrs Wibbsey and Richard Franklin as Mike Yates.
The supporting cast includes Nigel Anthony, Samuel West, Jan Francis, Trevor White, Lorelei King and Finty Williams,
and original sound design accompanies the familiar Doctor Who theme from the BBC Radiophonic Workshop.
LP 1&2: The Relics of Time
LP 3&4: The Demon of Paris
LP 5&6: A Shard of Ice
LP 7&8: Starfall
LP 9&10: Sepulchre
When key components from the TARDIS are stolen in exchange for a bag of strange curios, the Doctor and his
housekeeper Mrs Wibbsey are reunited in adventure. Each object leads the unlikely friends, along with the trusty
Mike Yates, to a place and time where danger awaits them. As their pursuer’s net closes around the Doctor, he
realises that the mysterious Demon is in thrall to a much higher power…

Repress 2026

Green Vinyl + Slipmat

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Clear Vinyl

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Based in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist and performer. His music extends across and beyond many genres including drone, minimalism, and free improvisation. He records and performs in both solo and group contexts. Collins has released music on the SIGE, Type, Blackest Rainbow, Handmade Birds, Sicksicksick and Root Strata record labels. In addition to his work as a solo artist, Collins has several collaborations including Thalassa with Aaron Turner and Mesa Ritual with Raven Chacon. He has also collaborated with Marshall Trammell, James Jackson Toth, Mamiffer and is currently working on new music with Margarida Garcia.

Alone Inside the Walls of Night is music for Mellotron, violin, synthesizers, and electric guitar. It was completed in 2022 and is dedicated to Maria Valentina Chirico. It features Heather Trost on violin. Artwork by Chris Bigg.

The Berlin based duo Itchy Spots combine falling words with tricky rhythms. Their music concerns the simultaneity of intensity and nonchalance, feverish high speed drumming, static sounds and tribal hypnosis. The vocal performance seems to stand alone, it is independent from whats happening rhythmically, yet it all melts together perfectly. Grooving skeletons of songs, rituals and shamanism. Itchy Spots are James Main (former singer and lyricist with Wild Daughter) and Ansgar Wilken (Ilse Lau, Feedbackorchester, Happy Zloty).

Joan Reggae Drummer, based in the region of Catalonia in Spain, is a great lover of Jamaican music, at a very young age he began to be so passionate about drums that he created his first musical projects, among them, the band that was a turning point was The Pepper Pots. With 6 albums already released and several tours in Europe, UK, Japan, USA & Czech Republic , Joan has opened for internationally artists such as Jimmy Cliff, Kymani Marley, Laurel Aitken, Derrick Morgan, Ticken Jahfakoli or The Pioneers among others. He performed at major festivals such as Summerjam Reggae Festival (Germany), Rototom Sunsplash (Italy), Primavera Sound (BCN), Rock For People (Czech Republic) or SXSW (Austin, USA).

Joan as a drummer has also worked with a lot of top international soul artists such as Curtis Mayfield's legendary band The Impressions, Eli "Paperboy" Reed, Maxine Brown, Binky Griptite from Daptone Records that has been in bands such as Antibalas, Sharon Jones & The Dap-Kings, The Dap-Kings or The Mellomatics.

In 2020, after a time of musical hiatus due to the Covid, he began his more personal adventure, creating his own channel dedicated solely and exclusively to the world of drums in Reggae and Dub. Currently his Instagram channel has more than 34.000 followers and the content published has so much repercussion.

First this major collaboration last year with Aston Barrett Jr for a special tribute to his uncle , Carlton Barrett (Bob Marley), one of Joan's favorite drummer. And at last all this work led him to record his first debut EP "DUB Explosion" on the label Two Flames Records, a real explosion of DUB, where the common thread of the songs are drums.

JRD "DUB Explosion" is a performance in the form of an EP, consisting of 4 instrumental Dub tracks with a totally different concept than what we are used to, since the songs were created from the drum beats.

Great musicians from different countries have participated in this EP: Guitar - Arturo Landaeta (Venezuela), Bass - Elie El Ossais (Australia), Keyboards - Ireneu Grosset (Spain), Nyahbinghi Drums - Maurici Bongo (Brazil), Trombone and Trumpet - Pablo Martín (Catalonia), Tenor sax - Tomy Muñoz (Catalonia), Bass - Miliu Llorach (Catalonia), Flute - Lluís Doménech (England), Bass - Joshua Jones (Jamaica), Keteh & Triangle - Aurel Cade (France), Trumpet - Glenn Holdaway (United States).

Finally, the production, mixing and dub was done by the musician and producer Ireneu Grosset, in the analogue studio of Dr. Dubwiser. It was quite an experience as the studio has a team very similar to what Jamaican producers had in the golden age of Reggae in the 70's.

RIYL: ESG, LCD Soundsystem, Liquid Liquid, Hercules & Love Affair, Talking Heads. Melbourne, Australia "heat beat" icons NO ZU regroup after the passing of vocalist Daphne Camf, to release their first new original music since 2016. NO ZU have played Barcelona's Primavera Festival, performed live on French television, and toured Australia with no wave icons ESG and James Chance. Led by the magnetic, tireless Nicolaas Oogjes, NO ZU's multi- limbed, mutant punk funk has evolved over the last decade to make them one of Australia's most distinctive and debauched groups. Daphne’s passing in 2021 left a huge hole in the band, and they fell into a long silence. Now they return with an EP featuring her final recordings with the group. Heat Beat, named after the band’s own trademarked genre, is classic NO ZU. Dark and playful, layered with cryptic allusions and implausibly danceable, the EP shows NO ZU at their restless, exploratory best. 2016 second album Afterlife took NO ZU to Europe as well as US shows where they collaborated with members of Liquid Liquid. 2017 remix EP BODY2BODY2BODY saw Afterlife tracks reworked by the band's 80s idols A Certain Ratio and Jonny Sender of Konk. In 2020 they released a double A-side single covering Hunters & Collectors’ Talking To A Stranger and Bryan Ferry’s Sensation, and played their last live show in Feb 2020. Now NO ZU return with a joyful, celebratory EP of their final recordings with beloved vocalist Daphne Camf. Like a post-punk band discovering the joys of dub, disco, and Afrobeat” – Pitchfork // “Melbourne’s freakiest multi-limbed ensemble are masters of percussive lunacy and wild x-rated boogie” – The Vinyl Factory // Side A: 1. Liquid Love 2. Mind Melt.. Side B: 3. Cosmetic Beat 4. Heat Beat Head 5. Phone Call Melt Down

With his first release since 2015, Seattle based Indie-folk hero Rocky Votolato returns with Wild Roots, an intimate concept album inspired by and written for his family. Each song a letter dedicated to a specific family member and focused on a special memory or moment in time. After losing his child in December of 2021 in a tragic car accident, the entire album, and especially the song “Becoming Human”, now a posthumous love letter, takes on an even deeper while devastatingly bittersweet meaning. The production on Wild Roots is hushed, handcrafted, and warm — an intimate and personal experience that brings the nature of Votolato’s storytelling to life in very authentic and genuine ways. Produced, engineered, and mixed by Votolato himself, the record is a deliberate construction of his conceptual vision and new phase of his recording career. Additionally, the record features a stellar cast of renowned musicians whose contributions perfectly compliment the delicate nature of these songs — Abby Gundersen (William Fitzsimmons) on piano, string arrangements, and vocal harmonies, James McAllister (Sufjan Stevens, The National) on drums and percussion, Phil Wandscher (Whiskeytown, Jesse Sykes and the Sweet Hereafter) on electric guitar, and Marcel Gein (Perry O’Parson) on electric guitar. In many ways, Wild Roots is not only a break in silence for Votolato, but the opening of a new chapter — one that feels laser focused on what really matters in life. Whether discovering Votolato for the first time or adding another record to your collection, Wild Roots resonates on the most simple and important human levels — a sharing of experience that encourages us to keep believing in ourselves and in the magic of this life, no matter how harsh and difficult it can be.


Track list: 1. Evergreen 2. 23 Stitches 3. Glory (Broken Dove) 4. There is a Light 5. X1998x 6. Becoming Human 7. Breakwater 8. Little Black Diamond 9. Archangels of Tornados 10. The Great Pontificator 11. The Wildest Horses 12. Little Lupine 13. Bella Rose 14. Southpaw 15. Texas Scorpion (The Outlaw Blues)

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

Sometimes you can´t hear the words...

...since anything beyond everything she wants to give a hint...

... it´s not pretty (but it´s pretty).


James K debuts on Incienso with sophomore album Random Girl. What’s gathered at first is a heterogeneous mixture of intimacy and sore, collected between 2014-2018. As if in a cruel playground game, K breaks a tracklist full of complex soundscapes, voice manipulation, and dazzling shoegaze with a self-built noise box, stethoscope throat-voice and a cellphone recording from a fake tropical island on ecstasy. Consequently, Random Girl is a voice against infantilization of girlhood, a decisive refutal of integrity, fighting what can be understood as the death of expression. Take a sip of water before your memory error blinks. Dial to K. Listen to the disfragmented territory and the cast of it she’s making. It might not be what you will have thought tomorrow.

‘Random Girl’ is out September 30th, 2022 on Incienso
Written & Produced by james K
Mixed by Paul Corley
Mastered by Anne Taegert at Dubplates and Mastering
INC-016

Artwork by james K, Alex McCullough & Jen Shear

Berlin-based producer Rampue has not released an album in 14 (in words: fourteen) years. Between 2008 and 2020 he toured the world and worked mainly on his live sets in the meantime. So now only a worldwide pandemic had the power to prevent the traveling musician from continuing this hustle and bustle and eventually share a new record with the public. Corona was what brought this standstill and the otherwise well- traveled individual experiences cabin-fever during lockdown. Hence, the new Rampue album "Tragweite" came into existence in February 2021, which portrays the artist's desire for experimentation.
Inspired by a modular synthesizer (Buchla), Rampue has seemingly put himself into a kind of trance, in which he lets the machines work and combines randomly created sounds with airy structures such as low drums or simple grooves. Rampue accomplished to break free by using random sounds as a new impulse and a way out of a creative crisis, which stemmed both from the enforced home isolation and from the self-perceived paralysis. The result is literally unique, as many of the sound products cannot be reconstructed and are preserved in album form for the general public.
Listening to "Tragweite" one gets the impression that the dialectical relationship between chaos and order, further supported by its production, is the defining theme of the album. After an initially perceived chaos, a delicate order, which is determined by structuring drum patterns and basslines, takes over throughout the course of the album.
Later, it frays and loses itself again in sounds and tones created mechanically However, it never seems arbitrary, but willful and skillfully staged. For instance, "Furo?" begins with apparent arrhythmia. The combination of bass and subtle percussion, however, gives this arrhythmia a shape, guiding the track which gradually becomes more and more driving without losing its original playfulness.
Although one might be inclined to think of genres such as Downtempo or Ambient at the beginning in the further course of the album results in such a diverse sound and rhythmic landscape that one willingly questions one's own perception of music while listening and finally throws every type of categorization overboard joyfully. The listening experience is too intoxicating and enlightening to stick to simple genre boundaries. The musical spectrum ranges from straight arrangements that live entirely without a drum foundation ("Fu?r Dich") to almost meditative sound collages ("Regengesicht") to the four-to-the-floor banger "Kembang" which adds a grimmer note with a certain industrial appeal to the overall rather melancholic-progressive curation. "Direct Faden" on the other hand, surprises with its simple guitar-based foundation on which the omnipresent synth snippets and pads are allowed to let off steam towards the end of the record. The track that most closely combines the progressive production style with a danceable club atmosphere is probably "Phobia". Wafting, partly breaking away synthesizer sounds rise higher and higher, while the driving mixture of bass and drums consistently march forward.
Rampue breaks with his old, musical habits as "Tragweite" creates the impression of improvisation and jam character without getting lost. Rampue takes his listeners on a journey that is stirring and moving, sometimes demanding or even a bit disturbing, yet always one thing: incredibly exciting.

Never-before released Ahmad Jamal in the 1960s,
recorded at the Penthouse Jazz Club in Seattle.
Official release supervised by Ahmad Jamal. This is
Volume One.
Remastered audio transferred from the original tape
reels.
Includes an extensive booklet with previously
unpublished photos from Chuck Stewart and Don
Bronstein, essays by jazz writer Eugene Holley Jr. and
producer Zev Feldman, plus interviews with Ahmad
Jamal, Jon Batiste, Kenny Barron, Aaron Diehl and
Marshall Chess.
This will mark the first release from producer and ‘Jazz
Detective’ Zev Feldman’s new label venture, Deep
Digs Music Group, in partnership with Elemental
Music.
Featuring Ahmad Jamal on piano, Richard Evans on
bass and Chuck Lampkin on drums.

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

The Singles soundtrack was released in early 1992, a full three months before the film opened, and it was an instant hit, eventually selling over two million copies. It's the perfect snapshot of Grunge, Seattle at a certain place and time.

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

“It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!” A1 The Sky Without You (David Holmes Radical Mycology Remix) A2 It Gets Easier (Maps Remix)B1 Something Like Love (Richard Norris Remix) B2 Way Of The World (bdrmm Remix) Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris and bdrmm.

The Mixtapers land on the newborn Angis Music - founded by Bakerboy - with a warm-sounding and futuristic EP which stems from jam session recordings in which acoustic instruments interact with electronic ones. The path begins with the title track Sun Metaphors, driven by an enveloping bassline which leads us to exotic and surreal landscapes, dominated by a vibrating groove. The glorious vocals of the singer ALO sound like a tribute to the Sun and more generally to warm, bright energies, like a Gospel choir. The same spirituality resonates in Trinity, a cosmic funk trip with flute and keytar interludes. Side A serves also Smokey Reflection which is pure sensuality in its most deep form while Stay (Away From Me) is the epilogue of a fervent journey, where the sounds of drum machine and congas recall the atmosphere of bossa nova, also because of the presence of Sara Lima's voice.

Michele Manzo - musician and producer who boasts international collaborations with Omar Lye-Fook, Georgia Anne Muldrow and Declaime - is the man behind the second release of Angis Music, italian label curated by DJ Samuele Pagliai. The EP presents 3 different scenarios resulting from a spontaneous live session, which reflects the multiple influences and symphonic approach of an artist with various styles. This work, inspired by the science fiction novels of William Gibson - godfather of the cyberpunk genre - opens with the song "Burning Chrome", conceived as a nighttime escape taking you at lightening speed through the alleys of a city that is galaxies away. Continuing on to the B side we have "Chiba City Park", where the broken beat and abstract harmonies create an ambience similar to that of those in Neuromancer. Finally, "Nebula's Grace" is a cosmic jam where time slowly floats away in dub echoes and disappears into the depth of space.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Tony Williams gehört sicherlich zu den auch heute noch einzigartigen Schlagzeugern im Jazz, deren Wirken sogar Stilrichtungen nachhaltig beeinflusst haben und immer noch prägen. Im Alter von 16 holte ihn bereits der Saxophonisten Jackie McLean in seine Band nach New York. Mit McLean spielte er auch seine erste Plattenaufnahme ein. Bald darauf sorgte Williams im Alter von 17 Jahren bereits im zweiten Miles Davis Quintet für Furore. Knapp 20 Jahre später, am 30. und 31. Mai 1980, ging Tony Williams mit Tom Grant (Keyboards, Synthesizer, er kam auf Empfehlung von Jeff Lorber in diese Band) und Patrick O'Hearn (Bass, Synthesizer) in das Tonstudio Zuckerfabrik in Stuttgart/Germany. Dieses Studio war in den 70er und in den frühen Achtzigern in der ersten Ausprägung eine legendäre Adresse für Audio-Produktionen aller Art. Larry Coryell, Wolfgang Dauner, Stephane Grappeli, Elvin Jones, Martin Kolbe + Ralf Illenberger, Volker Kriegel, Alphonse Mouzon, John Scofield und das United Jazz+Rock Ensemble nahmen dort auf. Diese beispielhaft für noch sehr viele andere. Produziert hatten Tony Williams und Peter Schnyder im Tandem. Komponist aller Titel war Williams. Das Album wurde in nur zwei Tagen eingespielt und direkt dort im Studio gemixt. Dieses zeitlose Album kam damals in einer Auflage von 500 Stück, wurde seinerzeit kaum promotet und mag dem/der einen oder anderen daher verborgen geblieben sein. Umso schöner, dass es jetzt wieder lieferbar ist.

Press play on Beverley Skeete’s ’Warm' and a wave of evocative, vivid images of sultry, sun-kissed summer days will wash over you.

'Warm' is UK street-soul / electronic boogie at its finest. An infectious groove that features an amazing vocal performance invites you to fall in love. Beverley Skeete is an under-the-radar talent and you only need to dip into the sheer number of productions she has been involved with to see the pedigree of her artistry. It includes working with superstars such as Tina Turner, Chaka Khan, Bronski Beat, Elton John, Boy George, and Maxi Priest, to name just a few. She was also the vocalist for the 90s global house hit 'Passion' by Gat Decor. Beverley continues to work in music to this day and, in 2021, released her most recent album, 'Liberty’.

'Warm' was Beverly's third solo single for the fabled UK record label Elite. Released in 1985, it was produced by the stellar underground production team of A Sojka / de Jongh Production. This duo is better known as Andy Sojka (Atmosfear, 3rd Army, et al) and Richard de Jongh. Elite was set up by Sojka in 1979 and was a hotbed for underground UK talent that often became staples of the most discerning US dancefloors too. 'Warm' and the equally remarkable soulful-dancer 'If The Feeling Is Right' are lesser-known jams from the label’s catalogue, but they have rightfully been championed by the diggers and collectors, and what beauties they are!

Official Mr Bongo replica reissue of the original Elite release.

grey marbled vinyl

Two young British producers share their skills for this thoughtfully constructed futuristic two-tracker. Jasper Tygner, who has been championed by Radio 1's Jamz Supernova, Jaguar and Sian Eleri, is a rising star crafting blissed out electronica. Meanwhile fellow Londoner Joe Hertz has also skyrocketed to success, especially since last year's soulful jazz-inflected Current Blues EP.

These two collaborative tracks are delicate soundscapes that borrow and reimagine club sounds. 'Equals' forms a slowly swelling early hours pulse with futuristic melodies, at once gentle and danceable. 'Second Thought' has a hazier beat, with swooping post-rave synths to ease you from the clubnight out into the morning light.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Repressed! Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more.

Thirty-five years since the release of their landmark debut album This Is The Story, and 34 since the release of Sunshine On Leith, the second album that made them international stars, The Proclaimers are back with their 12th studio album. And, at the ripe young age of 60, the fire and ire of Craig and Charlie Reid remain righteously undimmed. Dentures Out is a record of the times, for the times, the twins at their political, observational, satirical and fist-punchingly tuneful best.
Dentures Out is 13 songs clocking in at a lean, tight, focused 34 minutes. Only one number, the closing What The Audience Knew, busts the 180-second mark. The rest are sub-three-minute miniatures of polemical pop perfection, recorded at Rockfield in Wales in three quick weeks in spring 2022, lent six-string wings by guest guitarist James Dean Bradfield and produced by Dave Eringa (Manic Street Preachers), his third consecutive album with the Scotsmen.

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

The exceptional 100% TSF Jazz collection is embellished with its latest " 100% Women " volume dedicated to the great female Jazz performers. Let yourself be carried away by the finesse of this selection which honors the women of Jazz. With: Cecile McLorin Salvant, Carmen McRae, Ayo, Nina Simone, Doris Day, Dinah Washington

Mineral Goldwyn-Mayer proudly presents: the Guatemalan James Bond (aka Antonio Bonderas). His cover? Andres Remis, a talented and intuitive music producer releasing his debut EP. The catch? It was stolen by the KGB…

Here is the sound of momentum: Sarah Lee Langford and Will Stewart
roving together through the oldest tropes of country music and every
other genre
Here find rugged landscapes, whiskey barrooms, the same old bad luck and love.
And yet the nine-song romp delivers a hundred fresh takes.Langford and Stewart
are frequent collaborators. They perform here with friends Keelan Parrish (Vulture
Whale), Brian Gosdin (Dexateens), and Ford Boswell (Early James), as well as on
Langford's previous LP Two- Hearted Rounder (Cornelius Chapel Records). But
that album came out in 2019, back when we all lived on another planet. Their
latest full-length release together Bad Luck & Love resonates with all that we've
survived.
These are Birmingham, Alabama's hymns to the hard work of getting by, in
relationship and on stage. If exploration is a theme of Bad Luck & Love, the pedal
steel that makes the record so red-dirt earthy ends by taking us to outer space. "I
thank my lucky stars 'cause I think stars are lucky / Plus we're spinning around in
space, no place to lay our heads."

Repress in on Red & Yellow Vinyl, note new price. 1000 only worldwide. Today's Active Lifestyles, the second full-length by North Carolina rockers Polvo, did exactly what a sophomore LP is supposed to do: It expanded the ideas put forth in the first album, gave them a new spin and shine, and presented the "where we are now" to the world. Produced and recorded over four heady days in December 1992 by former Bostonian and ex-Volcano Suns bassist Bob Weston (around the time he started in Shellac), Today's Active Lifestyles hit record store shelves in April 1993. From the whizzing crunch of "Thermal Treasure" to the loping, connective "My Kimono" to the 7-minute-plus blowouts "Stinger (Five Wigs)" and album closer "Gemini Cusp," the album asserted its place as a most worthy successor to Cor-Crane Secret. The foreboding title of a particularly screechy, fuzzy jam, "Time Isn't on My Side," proved to be nonsense; Today's Active Lifestyles has aged beautifully. “The band experiments with several ideas throughout the album, and each concept is successful. The album ranges from cascading guitar solos in “Stinger (Five Wigs)” to the straightforward “Tilebreaker” to the catchy, rolling, keyboard-punctuated “Time Isn’t On My Side.” Overall an excellent album with many layers.” ALL MUSIC GUIDE. Track Listing: SIDE A 1 Thermal Treasure 2 Lazy Comet 3 My Kimono 4 Sure Shot 5 Stinger (Five Wigs). SIDE B 6 Tilebreaker 7 Shiska 8 Time Isn’t On My Side 9 Action vs. Vibe 10 Gemini Cusp

180 gram vinyl LP of Freddie's 1979 album with extensive sleeve notes
Produced by: Winston 'Niney The Observer' Holness
Recorded, Voiced & Mixed at: Channel One ecording Studio, 29 Maxfield
Avenue, Kingston 13
Engineers: Anthony 'Crucial Bunny'/'Bunny Tom Tom' Graham & Lancelot
'Maxie' McKenzie
Musicians:
Drums: Max 'Feelgood' Edwards & Leroy 'Horse Mouth' Wallace
Bass Guitar: George 'Fully' Fullwood
Lead Guitar: Earl 'Chinna' Smith
Lead Guitar & Rhythm Guitar: Albert Valentine 'Tony' Chin & Eric 'Bingy
Bunny' Lamont
Keyboards: Jamaba Johnson & Keith Sterling
Tenor Saxophone: Enroy 'Hot Train' Grant
Trumpet: Arnold 'Willie' Brackenridge & Donald Vidan-Greaves
Percussion: Herman 'Bongo Herman' Davis & 'Brooksy'
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First released 1983, all tracks produced by A Ranglin, except Hard Times
& Only Your Picture produced by V Buckley
Recorded & Mixed at: Channel One Recording Studio, 29 Maxfield Avenue,
Kingston 13, Jamaica
The Maytones are Gladstone Grant & Vernon Buckley
Original cover by C More Tone
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Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Stripped down versions of tracks from Flicker. “On my debut solo album The View From Halfway Down I did all of my promotion via Zoom and pre-recorded interviews and acoustic sessions,” explains Andy of the EP. “I enjoyed making the acoustic versions and decided to do some more for this album.” “‘Something Like Love’ is the most popular song from Flicker and one of the oldest, starting life in the ’90s. It’s probably the only one that dates back to the Ride era. "The riffs for ‘World Of Echo’ were written while I was on tour with Oasis, at the height of my La’s obsession. It went through a few iterations from then onwards, but never had a final melody until last year. ‘She Calls The Tune’ was the first song I wrote after I joined Oasis, ending a period of writers’ block which I had started going through some time in 1999. The very first performance of it was to an audience of Liam Gallagher, Gem Archer and Richard Ashcroft in a Milan hotel room. No pressure! I don’t think I ever saw this as an Oasis song, but I have them to thank for the fact that I was able to write songs again at all.” ‘Lifeline’ was another riff I came up with while on tour with Oasis. I remember being on a UK tour with Shack, and sitting around backstage on acoustics with Mick and John Head jamming around the Simon & Garfunkel version of ‘Scarborough Fair’. The riff for ‘Lifeline’ followed soon after. It was always called ‘Lifeline’ but I never found the right lyric for it until recently. A1 Something Like Love A2 World Of Echo B1 She Calls The Tune B2 Lifeline

Genre : Indie / Pop-folk The New Yorker Adam Green’s 11th and latest solo album, That Fucking Feeling, continues his musical explorations with longtime collaborators Loren Humphrey, James Richardson (MGMT), and Jesse Kotansky. The album places large-scale 'Wall of Sound' style productions alongside home-recordings done during COVID quarantine. Adam Green was touring in Europe in 2022 spring, and will tour in USA in November. When talking about the title track, Adam says: “I wanted to release something home-recorded. Back in the Moldy Peaches days I used to record everything on my parent’s kitchen table, but it’s been 20 years since I put out something like that. I wrote a few songs in quarantine singing into my laptop, and I like how direct it feels. Not every song has to be big, this is just a little song that felt like a sweet moment captured. I think of myself as a singing man, maybe that’s how I’m most comfortable in life” Tracklist : 1. Black Out / 2. That Fucking Feeling / 3. Red Copper Room / 4.Bitter Hearts / 5. All Hell Breaks Loose / 6. What's her face / 7. Dreidels of Fire / 8. Black Out (accoustic) / 9. What's her Face (accoustic) / 10. Little Failure

Whilst most of the North swung to the right in the 2019 General UK Election, the North West held onto their hope and long standing heritage of voting for what imagines itself to still be the ‘Left’. It’s 2022 and there are no political choices left, but to rise up and revolt to Stop the Rot. T.S. Warspite channel their message through a unique musical recipe that answers the question no one asked: What if Bad Religion grew up in Manchester in the 2000s? Made up of some long standing and productive members of the local scene, this sounds like friendship and experience, and some refreshing as fuck hardcore. Singer Marco Abbatiello weaves expertly through scenes of pulp reality where everything is fleeting and only some things stick. What’s left is a farcical montage of things that have rushed past you with no real sense of direction. Personally and politically, it’s all the same wretched soup of societal collapse and the rise of the technocracies. Do yourself a favour, and play this through your Tesla microchip whilst throwing a molotov at No.10. Members of Violent Reaction, Payday, Firearm, Arms Race, Rated X. T.S. Warspite is Paul Morgan, Tom Howard, Marco Abbatiello, Tom Pimlott and Miles Livingstone-Todd. Recorded and Mixed by James ‘Atko’ Atkinson at The Stationhouse. Mastered by Will Killingsworth at Dead Air Studios. Art by Chio. Photos by Meline Gharibyan

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Jetzt auch als VINYL! 180 Gramm und fettes Artwork. Auf dem Planeten Dub haben Dubblestandart mit mittlerweile zehn Alben bereits einen eigenen Krater hinterlassen. Gegründet Ende der Achtziger unter dem Eindruck von Lee Perrys einzigartigen Black Ark-Produktionen und Adrian Sherwoods radikalen Mixmanövern auf On-U-Sound, hat die bewährte und begehrte Backing Band (Ari Up, Lee "Scratch" Perry, Dillinger, Lilian Allen, Top Cat), um Paul Zasky den jamaikanischen Produktionstechniken ihr eigenes, europäisches Gesicht gegeben: bassbasiert, New Wave-infomiert, mixtechnisch auf dem neusten Stand und versiert im Seiltanz zwischen digitalem Wumms und analoger Wärme, wortlos vermittelnd zwischen Patois und Schmäh. Mit dem elften Album krönen sie ihre Karriere mit einer Serie Aufsehen erregender Kollaborationen (u.a. Lee "Scratch" Perry, Ari Up und Regiemeister David Lynch!) und einer in dieser Saison in Sachen Dichte, Fülle, Tiefe und Schwere ihresgleichen sucht. Aufgenommen wurde in Kingston, der Bronx und im heimatlichen Studio in Wien.

On her Signature Sounds debut Til It's Gone, Ali McGuirk delivers a sublime set of songs that pairs her trademark soul sound with rootsy turns and raw rock n' roll detours McGuirk co-produced Til It's Gone with Jonah Tolchin (a star singer-songwriter in his own right) and a set of session legends: Little Feat guitarist/mandolinist Fred Tackett, organist Larry Goldings (James Taylor, Norah Jones), singer Valerie Pinkston (Ray Charles, Luther Vandross), percussionist Lenny Castro (Stevie Nicks, Stevie Wonder). They provided the astounding chops, but the true magic of the album comes from McGuirk's singular voice as both singer and songwriter. The nine tracks run from intimate introspection to wider meditations on oppression and justice, from tough r&b and tender soul to big rock guitar and twangy folk. And McGuirk's voice bold, buttery, spellbinding " carries each song to the next til they're gone.

Broken Bells are back with their third full length album, INTO THE BLUE. Featuring two of the bigger names in indie and alternative music -- the Shins' singer/guitarist James Mercer and producer/multi-instrumentalist Brian Burton, aka Danger Mouse -- Broken Bells combined the pair's greatest strengths. On 2010's Grammy-nominated self-titled debut and 2014's more structured After the Disco, Mercer's gift for indelible, slightly spooky melodies and Burton's atmospheric productions complemented each other perfectly. In the late 2010s, the duo reconvened to release a succession of singles ahead of their third album. Mercer and Burton were inspired to collaborate when they met at 2004's Roskilde music festival in Denmark, where they discovered they were fans of each other's work. However, they didn't start writing and recording together as a band until March 2008, when Mercer holed up in Burton's home studio in Los Angeles. They took a different approach to working together than with their other projects: Burton avoided the sample-heavy style he used on The Grey Album and Beck's Modern Guilt, and played only live instruments; Mercer broadened his vocal style to include falsettos and deeper registers. Mercer and Burton made their official debut as Broken Bells in 2009, releasing their debut single, "The High Road," late that year. Their self-titled debut album came out in March 2010; it reached number seven on the Billboard 200 Albums chart and was nominated for a Best Alternative Album award at the 2011 Grammy Awards.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Igziabeher Yi mas gan (Let Jah be Praised!) - as we follow up with the next release forwarding from Ashanti Selah Music; we are proud to present a fresh combination to the label with Iqulah Rastafari who is a true ambassador and master of his faith as well as being a high-caliber artist in his own right; this release delivers the whole roots and nothing but the roots in its full entirety. Hailing from Jamaica and toured the 4 corners of the world with his band 'Giddeon Family' as well as performing many shows in Africa with the 'Azania Band' - Iqulah always brings the spiritual power and most honourable Rasta energy in connection with the music; making it a such an engaging experience when being among the vibration.

The Maxi-single offers two original vocals and two dub mixes per side with strong lyrics and heavy riddims to accompany!

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

Egg Meat is a new project from London based artists Tooth Rust aka Laurel Uziell and Georgie McVicar, their self-titled EP features poems spoken by Danny Hayward.

The EP features speech-jammed text skittering across insistent rhythms, clipped signals and buzzing, saturated grains. You hear the racket of gunshots, mechanical clutter and punctuating tones that ring out impatiently like an unanswered phone call. Hayward's words at times surfacing as meaningful utterances, at others buried under this dense sonic matter.

The manipulations of voice are also at times so extreme as to render them indistinguishable from the clattering electronics that engulf them. The speech shapeshifts, shudders, and shatters in the way a violin glides and trills above an orchestra. The EP ends with an ambiguous promise: "Don't worry", Hayward assures us, "we'll be back."

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently
seeped its way into popular culture. Lovingly restored
and remastered on 180g vinyl with liner notes.^

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in
1984, the track list includes the latter day hit ‘Only You’
and ‘Things Fall Apart’, the melody of which was lifted for
Young Franco’s 2020 single ‘Fallin’ Apart’.

The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

Having first met in 1991, music photographer STEVE GULLICK and JAMES JOHNSTON, founder of Gallon Drunk, began blurring the boundaries between audio and visual in 2004 when they formed their own band, '...bender'. They’ve maintained the habit ever since, with Gullick subsequently founding Tenebrous Liar and Johnston pursuing a career, alongside his work with PJ Harvey and a tenure in Nick Cave & The Bad Seeds, as an acclaimed visual artist and painter.After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. This became the album ‘We Travel Time’, a compelling and mysterious record that bravely embraced beautiful piano, voice, violin, and guitar to create a drifting haze, forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers alongside the haunting influence of contemporary minimal classical. Due for release this coming November 18th via God Unknown Records, Johnston and Gullick have returned to their craft to create a stunning new selection of songs and moods, brought together for the album ‘Everybody’s Sunset’. Recorded at their homes throughout 2021 and 2022, the ten songs on this new album take the fragile intimacy and agenda-free approach of its predecessor and go out even further into the fringes of tone and feeling. Utilising a vast selection of instruments between them (violin, organ, guitar, banjo, autoharp, harmonica, piano, synthesisers….), ‘Everybody’s Sunset’ ebbs and flows, bringing different instruments and signals to the fore as the album progresses. a bold, adventurous musical trip that finds Johnston and Gullick’s musical bond grow ever deeper and closer. Tune in and watch the Sunset glow. All songs written, arranged and recorded by James Johnston and Steve Gullick James Johnston: Violin, voice, organ, piano, guitar, banjo, autoharp. Steve Gullick: Voice, guitar, piano, organ, harmonica, harmonium. 1. The Moon & The Stars 2. Shimmer 3. Fear of Everything 4. Save Our Souls 5. Ice Moon 6. The Town That Couldn't Sleep 7. Medieval Death Song 8. Greater Silence 9. Who I Who 10. Everybody's Sunset

Orange Street, Kingston, Jamaica the epicentre of the Reggae world.
Where all the record shops, studios, pressing plants were based.
The new cut 45’s would be taken to the shops after a testing on various Sound Systems around the people and passed to the record shop proprietors to sell.
Bunny Lee as a former record plugger and now a leading producer knew what the people wanted and a great ear for a hit tune.
This collection carries some of the stand out tracks from this period, when music was finding a new beat as Rocksteady rolled into the late 60’s early 70’s Reggae Sound.
The Ravers ‘Mati and Fulli’ telling the story that the ‘Rent too High’ to The Twinkle Brothers ‘Miss Laba Laba’ …you see and blind you must hear and deaf…clean up your own backyard before talking about others.
All stories of daily life and love songs told over a cracking rhythm played by finest musicians on the island.
So yes ‘Some A Holla Some A Bawl’ as Max Romeo would say but it can’t be denied that all the tunes on this selection are of a fine pedigree….
So sit back and Enjoy the Ride…………..

dark green marbled vinyl

The 47th release features a collaboration between two friends, techno vets and label owners: Deepak Sharma and Cory James.

The result is a two track EP combining the best of what these experts have to offer in the hypnotic realm: rolling bass, subtle shifts in percussive movement and eerie sounds that create a complete late-night soundtrack.

Dino Divine
Side A features nine minutes of relentless groove with dramatic sweeping pads for the ultimate journey deep into the night.

Gowanus Taps
Side B has an analog and darker raw vibe, combining massive bass grooves with well-timed percussive surprises.

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

Christian James steps back to the label with his 'The Playa Barrigona EP' that includes a deepslide remix from the one and only, 'Last Nubian'. Four new cuts with those unmistakable mid-west vibes, strate outta flyover USA, always for the heads!

RIGHTFUL RULER returns the legendary Jamaican vocalist Earl 16 to the center stage of international roots reggae music. This four song showcase style ep demonstrates that matching an A-class veteran singer/ songwriter with the sounds of the Zion I Kings (ZIK) production team serves to revitalize the musical forces long associated with the classic reggae tradition- roots, reality, and culture!

Earl 16's career now spans five decades and is marked by hits and highlights throughout. HIs Jamaican recordings from the cornerstone studios (Studio One, Black Ark, Channel One) are still sought after gems from the golden age. But, unlike many of his peers, Earl 16 successfully adopted the changing sounds and styles of reggae in the U.K.(where he resides) and collaborated with top producers like Mad Professor and Nick Mannaseh. He has remained current into the new millennium with "Release The Pressure", a notable vocal to LeftField's breakthrough drum & bass hit.

The all star lineup of musicians on RIGHTFUL RULER is anchored by drums provided by ace producer and multi-instrumentalist Roberto Sanchez (A-Lone Productions). Keyboards by Pau "Nattykeyz" Dangla Valls and trumpet by Patrick "Aba Ariginal" Tenyue complement the rhythmic foundations set by ZIK core players David "JAH David" Goldfine (bass) and Laurent "Tippy I" Alfred (rhythm guitar, piano, organ). Sheldon Bernard's flute and Errol "Blacksteel" Nicholson's background vocals are heard on the title track and lead guitars by David Prout and Andrew "Moon" Bain appear on "Find A Way", a feature with the dynamic toasting of Mr. Williamz. All dub mixes are done by JAH David with cover art by Ato K.D. Roberts .

Rastafarianism came to prominence in the late 1960's/ 1970's and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid 1970's most, if not all the top flight singers were following the doctrine and growing their har to dreadlocks.
Everything was truly 'Dread'.
At the heart of this musical explosion was again Bunny 'Striker' Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid 1970's. The visual focal point of this new turn in reggae music would be a call to all things 'Dread'. Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place.
Heavy rhythms were created to match the heavy and serious lyrics and 'Versions Galore' as they say were coming out fast and furious.
We have compiled a set of conscious tunes that not only match the 'Dread' criteria, but also are just great tunes. The great Jacob Miller's 'Zion Gates', Cornell Campbells 'Two Faced Rasta', Horace Andy's 'It's Gonna Be Dread' alongside Linval Thompson's 'Never Conquer Jah'. Two timeless cuts from the 'The Abyssinians' get a fresh outing by two great singers, firstly Don Carlos' cut to 'Satta Massaganna' and the prince of reggae himself, Dennis Brown works 'Declaration of Rights' in fine style. Johnny Clarke's 'Man like Me' and 'Dem Say Rasta' still sound as fresh today as when they were first laid down and Wayne Jarrett's 'Live On Jah' and Frankie Jones 'Satta and Praise Jah' add to this great selection. All great 'Dread' tunes that were cut or voiced at King Tubby's giving them that extra shine.
So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, make you think.........

















Track 14 WICKED BABYLON - LINVAL THOMPSON

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

Edward ‘Bunny’ Lee later to become known as ‘Striker’ (b.23rd August 1941) got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. Bunny’s first credit as a producer was released on the label when he produced ‘Lloyd Jackson and the Groovers’ with a tune called ‘Listen To The Music’.

As we stated earlier by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him. Many of those artists are featured on this compilation. The Sensations ‘Long Time Me No See You Girl’, the Uniques that featured the great Slim Smith are here on some of their greatest cuts ‘Love and Devotion’ and ‘The Beatitude’, ‘Girls Like Dirt’. ‘My Conversation’ a song that would be a big hit for the Uniques would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on ‘Somebody’s Baby’ and ‘Little Boy Blue’ all massive hits, when originally released. Bunny’s love of Jazz and the brass sections would also shine through with some of Jamaica’s finest musicians featured here with the excellent tenor sax work of Val Bennett which gave us our album title track ‘Jumping With Mr Lee’ and ‘Jumping With Val’. The Alto sax work of Lester Sterling are featured on the timeless cut ‘Bangerang’ and ‘Tribute To Scratch’. The big sound of Trombonist ‘Vin Gordon’ features on ‘Sounds and Soul’. Not forgetting the previously mentioned King of Ska Derrick Morgan on ‘Hold Your Jack’. A song that in a few years’ time would provide the backbone for Mr Max Romeo’s cross over and controversial hit ‘Wet Dream’. So yes, a fine collection of tracks from the great producer Bunny ‘Striker’ Lee. Sit back and enjoy the reggae music of 1967-1968 with of the best sounds in town.Sit back and enjoy…..

Mondo, in conjunction with Troll Court / WaterTower Music, is proud to present the premiere vinyl pressing of the latest mix-tape masterpiece curated by writer/director James Gunn ... the soundtrack for his superhero action-adventure film THE SUICIDE SQUAD

A double shot of Y2K digi thrillers from Sydney via Bromley electro-dub producer Jeff Dread. Part of the city’s burgeoning network of blunted bass and sound system culture, Dread worked in parallel with the likes of Sheriff Lindo, Andy Rantzen and Ali Omar, issuing two dynamite albums on Creative Vibes in 1999 and 2001.

Utilising the Atari 1020 Ste, Dread would frantically live mix up to 9 tracks direct to CD-R, echoing the same rough and ready low tech intuition as Jamaican trailblazers King Tubby, Scientist and Jack Ruby and their UK-based disciples Jah Shaka, Adrian Sherwood and Mad Professor. While unmarked discs of his indulgently durational sessions litter the archives, this plate showcases versions immortalised by two crucial compilation CDs. Wicked stepper ‘Dub The Farmer’s Daughter’ burrows the ear canal with its addictive melodica and tightly coiled acid synth lines, edited for high impact by Sheriff Lindo for his volume of Dub For the Masses (Dread would curate its successor), while ‘Out On A Limb’ hails from Just Is, a double album sequenced by legendary Sydney queer party crew Club Kooky. A bass bin creeper that was extended with horns for his second longplayer Return From Alpha One, it’s this unembellished work in progress that really stings.

With Dread’s allegiance to local sound system heavyweights Firehouse, these totally brained studio jams are tried and tested weapons, finally blasting on the sacred 7” format.

Wau Wau Collectif's second album, Mariage, is instilled with a newfound sense of purpose. Expanding upon the inspirational themes of their acclaimed 2021 debut, Yaral Sa Doom (Educate The Young), this long distance collaboration from musicians in Senegal and Sweden's Karl Jonas Winqvist is an even more stylistically expansive affair. Joyful children's songs collide with fuzzy guitar solos and thumping hip-hop beats. Shimmering synths lift off from the plunky percussion of the balafon and versatile sounds of the 22-string kora. Familiar voices from the first album return with more explicitly political lyrics, while the music feels both rhythmically dense and sonically weightless, flowing from one spellbinding moment to the next. For Mariage, band members from each country were inspired to include a wider array of instrumental flourishes unique to their cross-continental collaboration. "Yay Balma" revolves around the cycling riffs of Jango Diabaté's xalam guitar, as this song's fuzzy tones and soaring sax solos open side two with a bang. "Pitchi Goubidi" provides a stark contrast, with the kora played like a harp and Gilbert Badji's gravelly lyrics about "the bird of the night" disappearing into dubbed-out chamber pop. Winqvist's omnichord hovers back into focus on "Yonou Natangue," a free-floating jam that maintains the messages of Wau Wau Collectif's debut, promoting youth education to address the social issues facing contemporary Senegal: "Peace is the better wealth / The way to wander."

Rush Hour-affiliate and Amsterdam local Relmer is back with what may well be his best work so far. ‘H2O’ expertly displays the vibrant energy he’s known for around these parts with two Amazon-inspired deephouse groovers, a melancholic walk through the jungle, a Detroit-infused progressive anthem and a hypnotic midtempo floorwarmer. Absolutely stellar stuff from A to Z.

“Super nice versatile EP by Relmer, Bummers Paradise has been a firm favourite this summer”
Esa Williams

"Blissful sounds, dancefloor material, and most of all, all very fun music to listen to. 10/10"
Fatima Yamaha

Peter Shaw - ein Mörder? Ganz bestimmt nicht! Da sind sich Justus und Bob sicher. Können die beiden die Unschuld des Zweiten Detektivs beweisen?Peter sieht ihn fallen, doch die Teufelsklippe gibt ihn nicht wieder her. Verschluckt von den tosenden Wellen bleibt der Mann verschwunden ... Was ist passiert? Ausgerechnet der Zweite Detektiv wird beschuldigt, Paul Forsters ins Meer gestoßen zu haben. Im Verhör wird Peter bis ins kleinste Detail befragt. Justus und Bob versuchen derweil mehr über den seltsamen Fall herauszufinden. Können die beiden ihrem Freund helfen?Sprecher:innen Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichDetective Ella Neda Rahmanian Officer James Sascha GutzeitMr. Shaw Michael Grimm Paul Forsters Achim Buch Esprit Matthias KellerAnthony Spring Douglas WelbatButch Tom PiddeInspektor Cotta Holger MahlichBlacky Heikedine KörtingGodween André MinningerPolizist Frank Meyer-BrockmannProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Constantin Stahlberg, Jens-Peter Morgenstern, Jan-Friedrich Conrad, Betty GeorgeCover-Illustration: Silvia ChristophDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG.(P) & © 2022 EUROPA a division of Sony Music Entertainment GmbHAuch erhältlich als MC 19439931694 und LP 19439931691.

Live At The L.A. Forum präsentiert einen außergewöhnlichen Auftritt der Jimi Hendrix Experience im April 1969. Vor einem ausverkauften Haus spielten Hendrix, Schlagzeuger Mitch Mitchell und Bassist Noel Redding ein einzigartiges Set mit Highlights wie "I Don't Live Today", "Purple Haze", "Red House" und einem erstaunlichen Medley aus "Voodoo Child (Slight Return)" und "Sunshine Of Your Love" von Cream. Diese unverfälschte Aufnahme, die von Hendrix' langjährigem Tontechniker Eddie Kramer neu abgemischt wurde, fängt die Jimi Hendrix Experience in ihrer unvergleichlichen Hochform ein. Ein Teil dieses Auftritts war zuvor Teil einer kurzlebigen Westwood One Radio-Dokumentationsbox Lifelines 1990-1992, war aber seit zwei Jahrzehnten nicht mehr in irgendeiner Form erhältlich. Die CD-Veröffentlichung mit einem 24-seitigen Booklet - komplett mit Linernotes von Billy Gibbons von ZZ Top, der die Show aus erster Hand miterlebte - gibt diesem bahnbrechenden Auftritt die richtige Plattform und präsentiert den kompletten Auftritt, der direkt von den originalen 8-Spur-Masterbändern abgemischt wurde.Enregistrée au printemps 1969 devant un public déchaîné et à guichets fermés, la performance captivante de la formation originale (Jimi Hendrix, Mitch Mitchell et Noel Redding) n'a jamais été publiée dans son intégralité. Cet album sort à temps pour le 80e anniversaire de la naissance de Jimi Hendrix. Après le succès massif du tiercé gagnant Are You Experienced, Axis: Bold as Love, Electric Ladyland en 1967-68, le trio est devenu l'attraction internationale la plus populaire du rock. C'est au L.A. Forum que le groupe dévoile pour la première fois la fameuse reprise de « The Star Spangled Banner », que Jimi allait canoniser quatre mois plus tard à Woodstock. Le live comprend «Purple Haze» et un medley incendiaire de 17 minutes de « Voodoo Child (Return) » et « Sunshine Of Your Love » de Cream. Le concert a été enregistré simultanément par Wally Heider et Bill Halverson, et récemment remixé par Eddie Kramer, producteur et ingénieur de longue date de Hendrix, pour une fidélité audio maximale et inclut une préface de Billy Gibbons de ZZ Top, qui a assisté au concert en 1969.

Sacred Bones has curated an LP of original Ya Ho Wa 13 and Father Yod and the Spirit of '76 (the musical projects of the Brotherhood of the Source) music from their rich and prolific recording history. For those not familiar, Ya Ho Wa 13, formed in 1973, are regarded as one of the most extreme, groundbreaking and influential psychedelic rock bands in history. The band released nine super rare LPs (and are rumored to have recorded 60 LPs worth) full of deep spiritual wisdom, tribal drums and distorted guitars, some of which were completely unrehearsed jam sessions, others which contained more conventional rock songs. Most were recorded after hours of meditation at 3:00-6:00 a.m. in a soundproofed garage that served as the musicians' studio at the family's communal residence. All of the records with Father Yod's participation were completely improvised, with no rehearsals or overdubs and feature him on lead vocals and percussion, via a kettle drum. Most of their original music was pressed in small runs and are highly sought after collector's items. Sacred Bones are super excited to have listened through hours and hours of this transformative music to bring you what they think is an absolutely essential compilation of some of their best songs.

Expanded with B-Sides and bonus Live concert recordings plus newly remastered original album.

The genre defining Heavy Metal band Black Sabbath smash out their ‘Mob Rules’ record with epic vocals from Roni James Dio.

This 2CD/LP re-issue contains previously unreleased bonus material. This gold selling album was released in 1981 and is regarded highly worldwide.

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

Am 18. November wird Ian Anderson Plays The
Orchestral Jethro Tull auf schwarzem 2LP-Vinyl
veröffentlicht. Ursprünglich 2005 auf CD und DVD
veröffentlicht, enthält diese Ausgabe das Konzert zum
ersten Mal in seiner Gesamtheit auf Vinyl.
Zwischen 2004 und 2006 tourte Ian Anderson mit der
Reihe Ian Anderson Plays The Orchestral Jethro Tull
durch Europa und die USA, zusammen mit dem
Orchester der Neuen Philharmonie Frankfurt unter der
Leitung von John O'Hara. Weitere Mitwirkende waren
Florian Opahle (akustische und elektrische Gitarren),
David Goodier (Bass und Glockenspiel) und James
Duncan (Schlagzeug und Perkussion).
Im Jahr 2005 sagte Ian Anderson über die
Zusammenarbeit mit dem Orchester:
"Die Kernband, die mit mir bei diesen Konzerten spielt,
wird aufgrund ihrer Fähigkeiten in verschiedenen
musikalischen Disziplinen ausgewählt. Sie müssen nicht
nur die verschiedenen Stile und Nuancen meiner und
Jethro Tulls Musik über die vielen Jahre hinweg
abdecken, sondern auch ein gutes Verständnis für die
komplette Funktionsweise der von uns verwendeten
Orchesterbesetzungen haben."

What if Lee Perry and Lex Baxter have been caught in a firetrap altogether? A weird experiment in dub & reggae coined in 1973, the sole album of this interstellar venture was a case in point. Jamaican rhythms (provided by the almighty Trojan records crew) with legendary prog/psych keyboardist Ken Elliott (former member of influential british bands such as Second Hand and Seventh Wave) creating groovy instrumental on top. 10 tracks including the Joe Meek classic Telstar and a spacey rendition of The Skalaties' »Guns Of Navarone« for an album that might sounds like a caribbean easy listening session on dope. A truly gem on its own, incredible strange music for the suburbs.