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Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

Rare Jazz-Soul-Funk Fusion From Milwaukee.
Originally released as a private pressing in 1982.
First Ever Vinyl Reissue.
Released in collaboration with the Numero Group.
180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.
James Dallas is a talented producer, songwriter and saxophonist from Milwaukee. He started playing the clarinet in Junior High School at the age of thirteen, during this time public schools would loan students an instrument who could not afford their own. James originally requested an alto saxophone but none of those were available. In 1967 he got his hands on a baritone saxophone…and it became his main instrument for the next 15 years.

Dallas decided to pursue a career in entertainment (influenced by his parents who allowed him to play in a professional R&B band at the age of 14) and was possessed by an exceptional drive to excel in music. James wanting to showcase his talents as a multi-instrumentalist led him to his pursuit in playing the flute, various forms of the piano…and of course all the saxes & clarinets.

Soon he started playing with local bands and solo artists in the jazz & blues scene, he even participated on several recordings (mostly as part of the horn section)…but things really started to take of when James (together with his brother Chris and his cousin Kevin) started the outfit Heavy Weather. Most of the other bandmembers where his friends and would later become regular players on Dallas’ two solo albums ‘Life Forms’ (1982) and ‘Here And Now’ (1984).

The album we are proudly presenting you today: Life Forms (1982) was James Dallas debut album. Recorded at Mauer Brothers’ Studio and completely self-funded with the help and encouragement of his peers and family. Dallas paid for all the recording time and the privately pressed 1000 copies of the album…back then he could not have imagined that decades later it would become a much sought-after collectible that fetches high prices.

On Life Forms James Dallas is joined by a top cast of musicians such as Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass. Kevin Whitehead (who is James’ cousin and known for his work with Ben Webster, Ella Fitzgerald, Miles Davis, Sun Ra and Pharoah Sanders) also wrote a track for the album. The whole venture truly is a family affair because James’ brother Christopher can also be heard on keyboards and the album design was handled by his other brother Calvin.

James Dallas surely deserves the title of ‘multi-instrumentalist’ because not only did he compose the majority of the songs (and produced the whole album) but next to his trademark soprano saxophone work, he also took care of playing the electric piano, flute, vocoder and keyboards.

The six songs on the fantastic Life Forms album are a heavy mix of mind-blowing funk, fusion and Vocoder/Odyssey synth extravaganza. If you are a serious collector or a smooth jazz underground enthusiast, then this is the thing for you! Also included is the magnificent ‘Sidetrack’ song that was included on the Numero compilation ‘NuLeaf’ released in 2020.

Anoushka Shankar, the acclaimed sitar player, producer and composer, shares a new mini-album: Chapter I: Forever, For Now is out via LEITER on limited edition vinyl and on all digital platforms from October 6, 2023.

Recorded at Berlin’s celebrated Funkhaus complex, the four new tracks make up the first chapter in a trilogy
of mini-albums Shankar will be writing and releasing as an evolving story between tours. Featuring guest
appearances by Nils Frahm (piano, glass harmonica, harmonium, slit drum), Gal Maestro (bass) and Magda
Giannikou (accordion), Forever, For Now was produced by praised Grammy-decorated singer and composer Arooj Aftab, with whom Shankar had previously collaborated on ‘Udhero Na’, from the deluxe edition of Aftab’s ‘Vulture Prince’ album.

Forever, For Now is Shankars first release since December 2022’s standalone single, ‘In Her Name’, which
commemorated the tenth anniversary of the 2012 gang rape in Delhi of Jyoti Singh Pandey, and the mini-
album also follows ‘Between Us...’, her live album for LEITER earlier the same year, recorded with Jules Anoushka Shankar, the acclaimed sitar player, producer and composer, shares a new mini-album: Chapter I: Forever, For Now is out via LEITER on limited edition vinyl and on all digital platforms from October 6, 2023.

Recorded at Berlin’s celebrated Funkhaus complex, the four new tracks make up the first chapter in a trilogy
of mini-albums Shankar will be writing and releasing as an evolving story between tours. Featuring guest
appearances by Nils Frahm (piano, glass harmonica, harmonium, slit drum), Gal Maestro (bass) and Magda
Giannikou (accordion), Forever, For Now was produced by praised Grammy-decorated singer and composer Arooj Aftab, with whom Shankar had previously collaborated on ‘Udhero Na’, from the deluxe edition of Aftab’s ‘Vulture Prince’ album.

Forever, For Now is Shankars first release since December 2022’s standalone single, ‘In Her Name’, which
commemorated the tenth anniversary of the 2012 gang rape in Delhi of Jyoti Singh Pandey, and the mini-
album also follows ‘Between Us...’, her live album for LEITER earlier the same year, recorded with Jules

Seit den 1990ern ununterbrochen erfolgreich, ein Superstar in Frankreich, asl Solo-Künstler und auch Songschreiber. Dies ist Pascal Obispo's 14. Album mit bislang nicht veröffentlichten Songs. Aufgenommen in seinen Studios in Paris, Frankreich. Produziert von den beiden New-Wave-Jazzern Fred Nardin und Max Pinto. 17 Titel auf Doppel-Vinyl und 14 auf CD. Auf dem Album sind als Gäste Giordana Angi, ein französisch-italienischer Star, und Alexia Gredy, eine junge französische Liedermacherin, mit dabei. Das Album zum ersten Mal gemeinsam mit Pierre-Dominique Burgaud geschrieben, der jetzt mit Alain Chamfort zusammenarbeitet, aber auch für seine Arbeit an Le Soldat rose und Gaëtan Roussel bekannt ist. Begleitet wird er von berühmten Musikern wie Manu Katché und Laurent Vernerey und einem Gastauftritt von Gautier Capuçon. Es ist ein Album mit Liedern, die sich um das Thema der sublimierten oder demontierten Schönheit drehen. Aufgenommen und gemischt von seinem Partner Youri Benaïs und gemastert von Miles Showell in Abbey Road, ist "Le beau qui pleut" eines der poetischsten Alben von Pascal Obispo.

Auf "Off The Grid" verschmelzt traditionelle Rhythmen mit elektronischer Musik.

"Off the Grid" ist eine Reise, die die Entstehungsgeschichte von Tanzrhythmen aus Afrika mit der elektronischen Tanzmusik der heutigen Clubs und Festivals verbindet und afrikanische Folklore und Geschichten mit Rap, Jazz und Hip-Hop verknüpft. Die beiden kreativen Köpfe hinter Onipa - Tom Excell (Nubiyan Twist) und Kweku Sackey (K.O.G. & the Zongo Brigade) - haben zusammen mit Finn Booth am Schlagzeug und Dwayne Kilvington (alias Wonky Logic) an den Synthesizern eine lebensbejahende und höchst originelle Klangwelt geschaffen

Melanie De Biasio veröffentlicht ihr viertes Album 'Il Viaggio' (italienisch für 'Die Reise') und begibt sich auf die titelgebende Reise zu ihren familiären Wurzeln in Italien. Zum einen aufgenommen in ihrer belgischen Heimat und zum anderen in Italien, beschreibt 'Il Viaggio' die Suche nach musikalischer Erneuerung. Melanie De Biasios sanfte Stimme, wunderschöne Melodien und atmosphärische Klangteppiche laden dazu ein, sich voller Gelassenheit mit ihr auf diese sinnliche Reise zu begeben.

Nachdem der französische Pianist und Producer sich mit 'O', dem ersten Album (2020 auf Mercury) einer elektronischen Symphonie widmete, kehrt LAAKE mit 'VOLT' zurück, mit einem umfangreichen und sonnigen Werk vollkommen contrair zur Entwicklung der aktuellen elektronischen Musik- Szene. Die Piano-Loops, eine der musikalischen Speerspitzen des Musikers, kollidieren mit Percussions und Drums in einer progressiven und treibenden Sintflut. Die Energie des Albums bewegt sich mühelos zwischen elektronischen und klassischen Dimensionen und flirtet mit Orgelklängen, kraftvollen Bässen und polyphonen Stimmen. Aufgenommen mit 10 Musikern aus der Klassik- und Jazzwelt zwischen Paris und Brüssel, folgen die 10 Titel des Albums einem Konzept, ohne sich zu wiederholen.

Hania Rani announces her new album, Ghosts, bringing her songwriting and beautiful vocals to the fore and featuring special guests Patrick Watson, Olafur Arnalds and Duncan Bellamy (Portico Quartet). Ghosts will be released via Gondwana Records, followed by Hania"s most monumental tour to date, with shows in the EU, US and Canada. Ghosts is the sound of an ever-evolving artist and, just as the album"s title suggests she passes repeatedly and gracefully between musical worlds: as composer, singer, songwriter, and producer. This album builds on Rani"s earlier successes Esja and Home with an expanded yet still minimal setup of piano, keyboards, synths (most importantly her Prophet) and features more of her mysterious, bewitching voice. Its spirit is warm, beckoning one into an ambitious double album that unfolds at an exquisite pace, informed by her revelatory, exploratory live performances. Ghosts is also an album of collaborations as Rani is joined by Patrick Watson, who breathes unearthly life into the ethereal "Dancing with Ghosts". "Whispering House"is written and recorded with her friend, Olafur Arnalds and casts a peaceful, ineluctable spell; and Portico Quartet"s Duncan Bellamy contributes vital loops to "Don"t Break My Heart" and "Thin Line".

Neuauflage zum 10-jährigen Jubiläum des Debüts und gleichzeitig einzigen Albums von Palms, der Band bestehend aus Chino Moreno (Sänger der Deftones) und Mitgliedern des 2010 aufgelösten Post-Metal-Kollektivs Isis. Auf dem Album enthalten sind auch zwei Bonustracks, 'Opening Titles' und 'End Credits', die Anfang des Jahres bereits digital erschienen sind. Das Originalalbum ist seit langem vergriffen und erreicht auf Discogs Summen von bis zu 100 Dollar.

Neuauflage zum 10-jährigen Jubiläum des Debüts und gleichzeitig einzigen Albums von Palms, der Band bestehend aus Chino Moreno (Sänger der Deftones) und Mitgliedern des 2010 aufgelösten Post-Metal-Kollektivs Isis. Auf dem Album enthalten sind auch zwei Bonustracks, 'Opening Titles' und 'End Credits', die Anfang des Jahres bereits digital erschienen sind. Das Originalalbum ist seit langem vergriffen und erreicht auf Discogs Summen von bis zu 100 Dollar.

Ein gefühlvolles, abenteuerliches, melodisches, virtuoses und dynamisches Debütalbum der in München lebenden mongolischen Jazzpianistin, Komponistin und Arrangeurin Shuteen Erdenebaatar. Mit gerade einmal 25 Jahren gewinnt Shuteen bereits Preise (darunter u.a. den BMW Young Artist Jazz Award) und verkauft mit ihren drei Weltklasse-Ensembles - einem einzigartigen 20-köpfigen Kammerensemble, ihrem exquisiten Duo 'Lightville' und dem hart swingenden, hochsensiblen jungen Jazzquartett, das auf diesem Album zu hören ist - selbst große Venues aus.

• Latin Freestyle was a dizzying, passionate, ultra-modern music. It was the aural equivalent of a can of thirst-quenching Quatro or a Spanish Harlem dance-off, and it became the electronically constructed bridge between disco and house.

• Freestyle grew out of the electro sound of the early 80s, combined clean staccato rhythms with morse code synth hooks, and topped them off with emotive, usually female, frequently Latina vocals. There was plenty more going on besides: proto-house piano lines, Cuban percussion, high emotion and synth hooks to die for.

• Put together and annotated by Bob Stanley (who also compiled the acclaimed “The Daisy Age” and “Fell From The Sun”), “Latin Freestyle” is the first compilation to cover the whole gamut of Freestyle from its early 80s breakthrough to its early 90s revival. So many classics… Lisa Lisa made the UK top ten with the 808 joy of ‘I Wonder If I Take You Home’. Stacey Q’s cosmically great ‘Two Of Hearts’ came out in 1986, while 1987 saw the likes of Company B’s ‘Fascinated’ and Exposé’s ‘Point Of No Return’ become huge UK club hits.

• Today, Freestyle is a scene with a solid collector’s market, and rarities like Janelle’s ‘Don’t Be Shy’ sell for hundreds of dollars. It’s a classic summer soundtrack, finally condensed in one Ace Records compilation – “Latin Freestyle”.

Das Debütalbum von Beach House aus dem Jahr 2006 ist jetzt endlich via Bella Union wieder auf Vinyl erhältlich. Enthalten ist der Song 'Master Of None', der von The Weeknd in seinem Song 'The Party & the After Party' gesampelt wurde.










j B5 | [Silence]

French label and promoter Much More recordings is proud to present the second vinyl of its collection. This vinyl features 6 tracks ranging from breaks to techno and passing electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

- In the cosmos of techno, a pear takes height,
As Hawking once mused, our past's pear-shaped light.
Evoking the essence of techno's design.
From acid's lemon embrace to bitter-sweet's delight,
Techno's past and future, in pear-shaped swirl.
Upon the tree stump, a glimpse of starlight,
A timeless journey, through cosmic embrace.
Techno's essence, expanding through space,
Techno's soulful evolution, a work of art. -

AudioKast joins, promoting sheer delight. Intelligent, smooth, with a touch of piano, A break-infused track, atmospheric glow. Falling Echoes, from France's southern land, Techno that lingers, both fresh and grand. Straight, mental, efficient, it ensnares, A captivating sound, with eternal affairs. Ricardo Garduno, Mexico's pride, Illegal Alien's head, his track provides heavy, straightforward, 4-to-the-floor, A dancefloor bomb, demanding much more. Johannes Astrup,
from Copenhagen's embrace, Smart-stepping techno, a timeless grace. Killing beats that reverberate and flow, Infinite rhythms, an everlasting show. Joton and Aicrag, a powerful duo, Break smart-stepping techno, boomy and true. Their collaboration, a vibrating spell, Moving bodies, a dancefloor's sweet swell. The Blackmailer, a friend tried and true, Driving, big room, a relentless beat, Techno's love, a symphony complete. Dear friends, in this cosmic dance we partake, Love and techno, our souls awake.We are back to the essence, and yet, much more.

Nautha ist eine italienische Psychedelic-Rock-Band mit ihrem zweiten Album 'Metempsychosis'. Die sieben Songs verlassen die formalen Strukturen des Progressive Rock, um die experimentellen Klänge des Jazz-Rock, die galaktischen Reisen des psychedelischen Krautrocks und sogar etwas melodischen, riffgeladenen alternativen Grunge-Rock zu beinhalten.

Die Wiederveröffentlichung von Los Natas 'El Hombre Montana'. Ein episches Stück Stoner- und Doom-Rock aus Argentinien. Produziert von Billy Anderson (The Melvins, Neurosis, Acid King, Fantomas, High On Fire). Dieses farbige Vinyl kommt als orange, schwarz-weiße Splatter-Edition.

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

Mistaken Identity is the second studio album by Australian singer Delta Goodrem. It was a huge success in Australia, peaking at #1 on the country’s album chart and achieving a certification of five times Platinum. The album was also very well received in New Zealand, UK, and several European countries. Delta’s second number one album can be described as more classically piano driven, venturing into pop rock and pop jazz. The album features five singles, including “Almost Here (feat. Brian McFadden)”, “Out Of The Blue”, “Mistaken Identity”, “A Little Too Late” and “Be Strong”.

Mistaken Identity is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve and includes an insert with lyrics.

To commemorate the 20th anniversary of Diario Mali, Ludovico Einaudi’s collaborative album with Ballaké Sissoko, Decca are proud to release the album and 2LP Colour for the very first time. Diario Mali explores the expert blending of the piano and kora with the most magnificent musicianship. The album will also be accompanied with a new version of the CD.

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.