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ke and Tina Turner formed a duo in 1960 and were soon seen as “one of the most potent live acts on the R&B circuit. The duo released their sixth studio album River Deep - Mountain High in 1966, which was produced by the legendary Phil Spector with his “Wall Of Sound”. They recorded the album with session musicians Jack Nitzsche, Leon Russell, Jim Horn, Glen Campbell, Darlene Love and Clydie “Brown Sugar” King.

The opening title track became a major hit and is still seen as one of the songs that shaped rock and roll. It is also the track that was arguably the high point of Spector’s “Wall Of Sound” production style. The 12-track set included three more successful tracks: “A Fool In Love”, “I Idolize You” and “It’s Gonna Work Out Fine”.

As the name suggests, Sai Galaxy represents a star-studded
cluster of artists from around the world – their varied styles
colliding to form a refreshing fusion of classic Afrobeat, disco
and West African funk.

Drawing from the influence of 70s and 80s Nigerian artists
such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai
Galaxy collective is on a mission to reproduce the analogue
warmth and groove from those decades. Consequently, they
lean heavily on 70s production techniques - free from the
predictable rigidity of digital sequencing.

Spearheaded by Australian multi-instrumentalist Simon
Durrington (from Digital Afrika), the members include
Olugbade Okunade - former trumpet player from Seun Kuti’s
Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and
Vanessa Baker.

While the EP seeks to reflect 70s production, glimpses of
contemporary elements can be found in the arrangements
and harmonies, at times reminiscent of modern artists such as
Lord Echo, Bosq and Voilaaa.

As Durrington believes: “dance is vital to health and
community”. And with an EP that urges you to dance from
start to finish, consider Sai Galaxy a cosmic tonic for the
modern lifestyle.

Red Marbled Vinyl

SOPHISTICADO LIVE SESSIONS follows up "FRAGILE" with "FEELIN IT" another masterpiece produced by VICK LAVENDER & JERE MCALLISTER. Fans of INCOGNITO, MAW and JOE CLAUSSELL should take notice. Also includes "FEELIN IT (BEATS)" as a bonus. Limited one-sided heavy weight colored vinyl.

Limited edition of 7500 picture disc copies. Spirituals is Santigold's first full-length album since 2016's 99¢, and was mostly recorded during the 2020 lockdown. "All of a sudden there I was with three small children out of school_just-turned-two-year-old twins and a six-year-old_I was cooking, cleaning, doing laundry and changing diapers from morning to night, with three little kids coming in and out of my bed throughout each night like musical chairs. I was losing touch with the artist me, stuck in a part of myself that was too small. I felt the other parts of me were shrinking, disappearing." Santigold struggled but succeeded in defining a space in which she could center herself and collaborate virtually with producers and contributors: Rostam, Boys Noize, Dre Skull, P2J, Nick Zinner, SBTRKT, JakeOne, Illangelo, Doc McKinney, Psymun, Ricky Blaze, Lido, Ray Brady, and Ryan Olson. "Recording this album was a way back to myself after being stuck in survival mode. It wasn't until I made the space to create that I realized I wasn't only creating music but a lifeline," she says. California was on fire, we were hiding from a plague, the social justice protests were unfolding. "I'd never written lyrics faster in my life. After having total writer's block, they started pouring out. I decided to create the future, to look towards where we are going, to create beauty and pull towards that beauty. I need that for myself, but it's also there for whoever else needs it."

Italian dream team production for this new Balearia wax: Memoryman aka Uovo, Ivan Iacobucci, Leo Mas and Fabrice hosted by Dj Fede & Robert Ownes.

A superb groovy release, where all the elements lift your dancefloor spirit. A must have release!

Please see below for the next Kalita 12" - Adelle First - Don't Give Up.
A South African Boogie, dancefloor heater reissued on vinyl for the
first time since the original release in 1986.


Kalita are excited to announce the first ever official reissue of Adelle First’s highly sought-after 1986 12” South African boogie single 'Don’t Give Up'!

Originally privately released on infamous South African label Music Team’s imprint Solid Records, the single features both the shorter vocal version and devastating 9-minute long extended ‘Dub Mix’, a true testament to the genius of producer Tom Mkhize. Having recently rocketed in demand,

fuelled by equal measures of quality and scarcity, and with original copies now selling for over £200 on the second-hand market, Kalita now offer this masterpiece to the world once more, sourced from the original analogue master tapes.

The 40th Anniversary Edition of Fairytales is the final of many incarnations of singer Radka Toneff and pianist Steve Dobrogosz’s jewel of a duo album. In the course of the 40 years that have passed since its release – on LP in 1982, CD in 1986 – Fairytales has sold well over 100 000 units, making it the top-selling Norwegian jazz record ever, and was also voted Norway’s best album of all time in a poll of Norwegian musicians in 2011. For four decades the sometimes delicate and sometimes robust melodic intimacy between the singer and the pianist, and the fragile strength with which they imparted their lyrics and music, has cast a spell on listeners from all music scenes. Constantly new generations are enthralled by the 41 auditorily minimalist but eloquently narrative minutes, and this final version, with improved sound quality, brings us closer to the magic of the Toneff/Dobrogosz duo than ever before. Fairytales had a solemn epilogue when Radka died under tragic circumstances a few weeks after the album was released and had begun to go from strength to strength. In retrospect, though, it is not the memory of the loss of an incomparable singer, but rather the content of what Radka accomplished together with her American duo partner that keeps Fairytales alive. “It’s not just the sound itself, but it’s also about how Radka sings, about the sensitivity in her voice,” Steve Dobrogosz has said. The pianist describes Radka as a superb, forthright and genuine interpreter who was “at her best” with Fairytales, and he rejects any implication that she sounds especially lonely or depressed, or that the album can be construed as part of any autobiographical timetable. The sum of singer Radka Toneff was, naturally, more than the parts she was able to display on Fairytales. But when practically all subsequent singers in Norway, from Sidsel Endresen up to the young talents of today, get a warmth in their voices and eyes when they talk about Radka as an artistic ideal and a source of inspiration, it is not least because they heard Fairytales at some point, and were sold. The fact that the album has also been the impetus for an interest in Radka that has produced posthumous records, books, radio documentaries and countless articles only confirms the strong position the album still occupies in the Norwegian music scene, a position that this 40th Anniversary Edition will further reinforce. Terje Mosnes, January 2022 01 The Moon Is A Harsh Mistres (Jimmy Webb) 02 Come Down In Time (Elton John/Bennie Taupin) 03 Lost In The Stars (Kurt Weill/Maxwell Anderson) 04 Mystery Man (Steve Dobrogosz/Fran Landesman) 05 My Funny Valentine (Richard Rodgers/Lorenz Hart) 06 Nature Boy (Eden Ahbez) 07 Long Daddy Green (Blossom Dearie/Dave Frishberg) 08 Wasted (Radka Toneff/Fran Landesman) 09 Before Love Went Out Of Style (Dudley Moore/Fran Landesman) 10 I Read My Sentence (Steve Dobrogosz/Emily Dickinson)

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects - most notably the duo Nadja - on such independent labels as Karlrecords, Important Records, Southern Lord, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Recorded mid-pandemic, Songs of Undoing cannot help but have a sort of mid- or post-apocalyptic overlying concept, lyrically dealing with themes of exodus and travel / wandering, self-reliance, the weight of history...with pointed references to two post-apocalyptic, societal / environmental collapse novels, Octavia Butler's "Parables of The Sower" and Kate Wilhelm's "Where Late The Sweet Birds Sang." Musically, the songs move between minimal slowcore and a sort of textural noise-rock or what might be called deconstructed grunge, taking influence from artists like Lungfish, American Analog Set, PJ Harvey, and Stina Nordenstam.

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

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Copenhagens own dj legend and veteran producer KIM KEMI releases another jacking and euphoric banger- ONLY SMOKE - his stylish and subtle sound design and varied arrangement take hints of Robert Hoods minimal riffs and flesh out a full funky arrangement taking us on that classic luxurious sonic journey. Pres play and trigger the
smoke machine - or the soap bubbles.
Martinez ́s remix is a more electro affair that could blend well with classic Underground Resistance releases. Watch out for the acid topline. Martinez is a Swedish electronic music producer and DJ, currently based in Copenhagen. Martinez kick started his carrier
in 2000 with his "Laidback Grooves EP" on the notorious Chicago based Deep-House label Guidance Recordings.
Asmus Odsats remix of SMOKE KILLS is taking the track in a more broken but funky IDM territory, breaking the track down adding avantgarde dub details over the stuttering beat.
Asmus Odsat is a former resident at Culture Box and co-founder of Ritual Malmö as well as the BULK club night releases via. FALK DISKS, the club focused sub-label of FALK (Fuck Art Lets Kill) with his ‘Ecstatic Half Truth’ EP, is played by Courtesy - even in her BBC Radio 1 show mix.
An added bonus to these 3 unique remixes is Kim Kemis beautiful
Tropical Tucan, a perfect opening track fusing sensual chilly Detroit pads and jacking understated beats into a growing glowing mind-state that is worthy of a Carl Craig spin - let it ride - don't miss the climax - you will end up looping it. An essential tool. Enjoy!

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

* Tena Stelin’s ‘Wicked Invention’ is one of the most highly-sought UK digital roots reggae vocal albums,
* Produced by Sound Iration (Nick Manasseh & Scruff), essentially, this is the vocal version of the classic dub album `Sound Iration in Dub’. This vocal set, like the vocal counterpart was released on Wau! Mr Modo in 1989.
* Features the sound system belters ‘Orthodox Music’, `Jah Equity’ and the title track.

Auf seinem dritten Album Stellar Drifting präsentiert George FitzGerald ein Album voller Staunen und Emotionen, voller glitzernder Melodien und schillernder Elektronik. Das Album ist ein echter Fortschritt in Bezug auf Umfang und Komposition und gilt als eines der größten Werke unserer Zeit im Bereich der atmosphärischen elektronischen Musik, das mit den Füßen auf dem Dancefloor steht, aber mit dem Herzen 1000 Meilen über der Erde selbst.

Stellar Drifting ist FitzGeralds Interpretation des Klangs völliger Freiheit, in der er das Bedürfnis anspricht, sich mit seiner inneren Welt zu konfrontieren und dem Gefühl der Begrenzung zu entkommen. Um dieses Gefühl des grenzenlosen Lebens zu erforschen, hat sich FitzGerald vom Weltraum inspirieren lassen und die Bausteine des Albums aus Weltraumbildern und Audioaufnahmen von Raumsonden zusammengesetzt. Auf dem Album sind auch einige der faszinierendsten Künstler und Songschreiber der Welt vertreten. Die für den Mercury nominierte irische Band SOAK leiht "Rainbows and Dreams" ihre Stimme, Animal Collective-Aushängeschild Panda Bear verleiht "Passed Tense" einen poetischen Schwung und London Grammar revanchiert sich mit "The Last Transmission" für FitzGeralds Arbeit an ihrem britischen #1-Album Californian Soil. George FitzGerald ist seit über einem Jahrzehnt eine herausragende Figur der elektronischen Musik, die mit einem Bein im Underground und mit dem anderen im Mainstream steht. Er war an der Spitze der britischen Szene, als er bei Londons kultigem Black Market Records arbeitete, und verbrachte dann ein Jahrzehnt in Berlin, wo er auf renommierten Labels wie Aus und Hotflush Recordings veröffentlichte, bevor er bei Domino unterschrieb und sich vom Club-Produzenten zum Albumkünstler wandelte. Es folgten zwei von der Kritik gefeierte Alben, Fading Love (2015) und All That Must Be (2018), auf denen er mit Künstlern wie Bonobo und Tracey Thorn zusammenarbeitete und seinen Sound zu einem atmosphärischen und weltweiten Status erhob.

In three club-geared tracks, Kyoto-based producer Ko Yang maps the allure of floating off-world and the joy still here on planet earth.

A founder and resident of Osaka’s long-running City Boy Lounge party, Ko Yang has been a steady contributor to Japanese party culture for the better part of a decade, hosting international and domestic artists at the homegrown CBL parties.

The release is rounded out with a remix from Alex Kassian, a major talent whose name has become synonymous with quality. Kassian has provided a cut of proggy, tribal euphoria that seems to lift off indefinitely, and is already bringing clubs to a froth internationally

Bliss Point is honored to bring you this collection of off-kilter, otherworldly club sounds from one of Japan’s most exciting talents.

Artwork and packaging by Chris Harnan

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

Savage Grounds lands on She Lost Kontrol with a 7 track EP, Hidden by the Night. 

For the first time, the voice of Kleio Thomaïdes joins Savage Grounds members Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). The result is an attractive, intense record with some nuances that will surely make the old nostalgics of Krilian Camera and Simona Buja's voice squeak their eyes. 
 The record reminds us the heartbeat of Italian darkwave, the angularity of German basements, the youthful despair of French coldwave. But it’s more than that because it’s a very personal kind of darkness.
 The exasperated atmospheres seem to resonate on both sides of the record, with the due differences between the darker-wave elements of the record and the more proto-ebm ones.
 All these songs are almost ‘goth love protest songs’: they all have the gloominess of the pre-disappointed, of the already-disgusted, of the unrelentlessly bleak against a freezing, sparse, ethereal electronic landscape.
 The voice by Kleio Thomaïdes is so fascinating because... more credits released March 15, 2022 SLK016 Savage Grounds are Kleio Thomaïdes (Voice), Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). Recorded between Zürich and Geneva, 2020/2021 Composed and recorded by Savage Grounds. Lyrics by Kleio Thomaïdes and Daniele Cosmo. Mixed by Florin Büchel. Mastered by Andrea Merlini. Photography by Erika Marthins Artwork by dudegraph - Michelangelo Greco Executive producer: Giovanni Rispoli & Carmine Staiano

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

Tape

After learning his craft in his hometown of Saarbrücken, a pivotal move to Berlin at the end of 2016 proved to be the ticket that would catapult hentzup deep into the music universe. Five years later Chris
has made a name for himself as a multi-instrumental music producer and versatile audio-engineer.
With three LPs and several EPs under his belt, hentzup is known for his classic and clever production style of jazz-infused hip-hop compositions. Needless to say that we are buzzing to announce this
soulful eight-tracker from the franco-german producer.

repressed !

It's no understatement that London Grammar's forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio's innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. 'That's how this all started,' says Dan, 'and it's always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.'

Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation's KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele's 21), joining them to master.
Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building - as you would expect from London Grammar - from nothing, from the barest of bones, Hannah's soaring vocals propels the song to its crashing climax.
More than delivering on their promise, London Grammar's electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

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

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

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

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

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

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

The sixth release on Italian imprint Tempo Dischi comes from Alessandro Bernabeo, aka Raduan, the Italian DJ and producer behind 'Taki-Naki-Naki', one of the most eclectic and unconventional electronic records made in Italy in the late 1980s.

"At the age of 7, I started attending a music school learning to play the piano. At 11 I began working as a speaker in various radio stations, and at 14, I joined Punto Radio where I grew up professionally and launched my own radio show, PLAY MUSIC, under the name Alessandro Giordani. The success was impressive, and thanks to my friend Gianfranco di Lizio, I also started my DJ career by playing in some of the best dance clubs under the artist name Raduan or Rad-one. Mixing funk, soul, afro and cosmic disco in my music gave me a chance to meet and establish relationships with many of the protagonists of this new musical scene, like l’Ebreo, Fari, Maselli, Claudio Mozart Rispoli, Pery, Rubens. In 1988 I was a resident DJ in a well-known club at the time, the 'RIO CLUB', and together with my keyboardist and percussionist, I had the idea to produce a maxi single. The song was recorded in about 40 hours without sleep at the Cicero Bros studio in Cassino in April 1988, with the support of Lino Rufo, a great artist from Molise, as well as his dear friend and old producer Toni Ochiello. The initial project was completely reworked. The original sampled drums were coupled with an acoustic one, and new melodies and fantastic spacey new sounds and effects were created by keyboardist Bengha. The hypnotic and repetitive voice of Cristina, Claudio Baglioni's background vocalist at the time, and that of Jamaica, originally from Mauritius, made the project even more interesting. 'Taki Naki Naki' is an Italo song, with Cosmic disco and Afro influences, and it's the title track of the EP originally released in June 1988 on Bmg Ariola, ex RCA. The EP includes two other songs 'Nightflight' and 'Hiroshima'. The record was a big hit in all the Italian Disco clubs and launched me into the international dance music scene. It was a fantastic time, with different styles of music and House Music was also on the way. There was a lot of research spirit and the people of the club were ready for various types of change. This record has left a mark, international DJs and shops from all over the world still contact me to ask if I have a vinyl copy left in my archive."

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

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

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

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

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

Noah grew up in Hokkaido. Japan's northernmost island, it's an idyllic, snowy place—and a wild, harsh one, too. But it wouldn't be long until, after a stint of living in Aichi Prefecture, found herself living in the tangle of urban centres that is Tokyo. Her production has always been experimental, everchanging, drawing influences from a wide range of styles resulting in a sound that is uniquely her own. Whether it's an R&B feel or the lo-fi magic of vaporwave, her tracks resound with energy and beauty. And, always, her voice weaves like a phantom, emotive, through these exciting soundscapes. Noire is Noah's latest full-length release since 2019's Thirty. Since her debut on FLAU, she has garnered praise from dozens of blogs and media outlets including Dazed & Confused, The Guardian and NYLON, to name just a few, and has worked with producers such as SELA. and kidkanevil.

Directly helping Noah to hone the sound which eventually became 2019's Étoile, her most recent album Noire is a collection of past tracks created between 2015-2020. Through jazz-inflected piano loops and a lo-fi vaporwave sound, alongside carefully considered beats, Noah's latest album showcases the joy of finding freedom in staying up late into the night, and the introspection that comes with it.

This never-before-heard work from Noah is the sound of an artist finding themselves, a maturation. The minimalist tracks—a cocktail of late-night jazz meets Portishead—feature gorgeous space for Noah's crooning vocals to breathe among sprinklings of sampled piano, flute and saxophone. From the emotive line, "The things I've left behind…" on 'Shadow', to the sleepy, far-off sounds of opener 'Twirling', the album showcases a lightness and a sensitivity to self: the joy of night twinned with the inevitable introspection that comes with staying up while the world sleeps.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

The funky French duo is back with a new 7 inch!
Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. Two funky electronic flow, ready to electrify clubs worldwide. Our two
"chansonniers" are the leaders of "Afropeanité" and the Creolity.
The song "Pas si vite" champions deceleration and positivity during our complex period.
"Caipirinha" is a soft tribute to Bossa Nova, the dream of hot and sweet destination in a cold winter.
Recorded at « Le Triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement, even during the pandemic…

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

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

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named the Back Street Warriors, Busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with the Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genres of music, he first played on
RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90s he played on Weekend Rush and then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early days MixMaster Max was one of the Innovators of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping others to produce, fuse & gain ideas in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the famous Hacienda club in Manchester.
He was the First DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC world championships in the early 90s.

He played at some of the Biggest Raves back in the day, Pirate club 93, Fantazia 92, Dungeons 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People's Choice, which were legal Radio Stations, not forgetting Kool fm & Centreforce.

He performed on stage with the We Papa Girl Rappers in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchuckers & TurnTables!
His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult
figure that inspired us all, giving us the freshest musical styles that had never been heard before!

VINYL REPRESS FINALLY ON THE WAY..

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

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

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

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

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

Still Life has been shaped by Katuchat's various musical influences: Arca, Vegyn, Sophie or Boards of Canada, artists who inspire him in the production of complex and detailed rhythms. For his first album, he wanted to experiment with more melodious sounds but also to diversify his music by collaborating for the first time with other artists (Chester Watson, Lia...).

Music being omnipresent in his daily life, his inspirations are as multiple as indefinable. We find them in what surrounds him, in the places, the interactions, the events which, unconsciously, directed the creation of the album. This idea inspired the artistic direction of "Still Life": the music is kind of a time capsule, which we can listen to again later to rediscover past moments of life, remembering the circumstances in which we first listened to it, and in his case, created it. Electronic music allows the listeners to attach their own interpretation and their own emotions, be they joyful or more melancholic.

Last Temptation with their 2nd album "Fuel For My Soul". Founded by guitarist Peter Scheithauer (Killing Machine, Belladonna, Temple of Brutality) and singer Butcho Vukovic (Watcha, Showtime), with bassist Julien Rimaire (Los Dissidentes Del Sucio Motel) and drummer Vince Brisach (Mitch Ryder), the band has a whole new rhythm section that supports them. Fuel for my Soul has a completely different production style than the band's debut album. The band had over 40 demos before finally narrowing them down to 11 hard-hitting tracks, all the rhythm tracks, bass, drums, and guitars were recorded live, and the songs are far more versatile than the previous release. While Last Temptation still maintain their Ozzy/Black Sabbath influences, they add a grungy twist, along with big choruses that add an 80s vibe. A big step forward for Last Temptation.

New Darius album, featuring Wayne Snow, Kadhja Bonet, Benny Sings...

After the release of his last EP "OASIS (Prelude) on Roche Musique, Parisian producer Darius reveals his second album "OASIS" with the powerful track "EASE YOUR MIND". A groovy dancing track reminiscing of his early trademark electro dance sounds with catchy R&B lead from Devin Tracy. The acclaimed and certified artist is now ready to unveil his new project, teased since the release of the +10 Million streams "EQUILIBRIUM" in 2020.

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

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

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

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

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

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

US-Komponist, Produzent und Multiinstrumentalist Eric Phillips aka Kennebec schöpft aus einem eklektischen Spektrum an Einflüssen, um einen einzigartigen Stil cineastischer elektronischer Musik zu kreieren. Sein zweites Album 'Without Star or Compass' enthält Kollabos mit Samuel T. Herring (Future Islands) und dessen Rap-Moniker Hemlock Ernst, US-Sänger Sudan Archives, der bahrainisch-britischen Jazzmusikerin Yazz Ahmed und Lofi-Hip-Hop-Künstler Kalaido.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Markus Suckut returns with his second EP on 'made of Concrete'. Named after the Ruhr area, one of the densest regions in Germany, 'Ruhr' shows off the mesmerizing skillset and versatility of the producer. His hometown Düsseldorf is one of the three major cities on the Ruhr map and has brought up its very own Düsseldorf-sound within German electronic music, with local heroes Kraftwerk paving the way in the 1970s. The twists and turns of the Ruhr river and the musical paths that electronic music has taken all come together in this EP, which steers from techno to electronica with ease.

While 'Tunnel' is a rather straightforward minimal techno banger, the title track 'Ruhr' is almost melancholic. 'At The Park With Friends' ventures into the realms of ambient. The 5-tracker is accompanied by a technoid remix of 'Smoke' by Markus Suckut's longtime friend Thomas Hessler.

The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke’s monumental return to Kompakt since his Zug um Zug two-tracker in 2014.

Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalising glimpse of Funke's freaky underworld. E_Plus follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody — a solid offering oddball of energy. On Alles Paletti, a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track Haus More is subdued, as chugging drums slither between a wobbly melody. The Other Version feels futuristic, as Funke goes full-force electro. Extra-terrestrial vocals return, but the pace is cranked up by strident sound FX and thudding drums. An eccentric end to an eccentric EP.

Sascha Funke is a Berlin-based producer and DJ with two decades' worth of releases building his back catalogue. BPitch Control, Turbo Recordings, Endless Flight, Running Back, and several more esteemed imprints have released his work. Today, he continues to create sleek sounds that weave various genres from house, techno, disco, Krautrock, wave, electro and unclassified anomalies. As a DJ, Funke is just as free-wheeling as his productions. He's played E1 in London, Caos in São Paulo and Renate in Berlin, amongst others, displaying his sweeping sound to a worldwide audience. Having been exposed to euro-dance pop as a youngster, you can hear flashes from the genre stitched throughout his work but blended in a way that's quintessential to Funke. Never one to change his sound according to the latest trend, Funke stays true to his creative vision — one of the most significant challenges for producers today.

Das traditionsreiche Kompakt-Imprint wird im September eine EP des deutschen DJs und Produzenten Sascha Funke veröffentlichen. Mit fünf Tracks, die sich durch schrulligen House und Techno auszeichnen, ist “Treets” Funkes monumentale Rückkehr zu Kompakt seit “ Zug um Zug” im Jahr 2014.

Im Gespräch über Treets sagt Funke, er sei "sehr glücklich, nach acht Jahren Pause wieder auf dem Mutterschiff Kompakt zu sein". Wie bei Funke nicht anders zu erwarten, passt die EP hervorragend in die kosmische Welt von Kompakt. Der Titeltrack vermittelt eine seltsame, abgedrehte Atmosphäre, wenn eine außerirdisch anmutende Stimme zwischen einer Acid-Bassline und quietschenden Perkussionsinstrumenten dahinplätschert. Es ist ein verlockender Einblick in Funkes freakige Unterwelt. “E-Plus” geht in eine ähnliche Richtung, nur dass dieses Mal die Stimmung bedrohlich ist. Funke paart einen orchestralen Gesang mit bleepigen Pads und seiner typischen Acid-getränkten Melodie - ein solides Angebot voller Energie. Auf “Alles Paletti” schaffen ein 2-Step-Drum-Pattern und eine Reihe heller Claps eine sonnige Klanglandschaft, die durch eine robuste Bassline und ätherische Synthesizernoten ergänzt wird. Das ist märchenhafte House-Musik, wie sie nur Funke produzieren kann. Der vorletzte Track Haus More ist zurückhaltend, da tuckernde Drums zwischen einer wackeligen Melodie schlittern. “Treets (The Other Version)” fühlt sich futuristisch an, weil Funke hier voll auf Elektro setzt. Der außerirdische Gesang kehrt zurück, aber das Tempo wird durch schrille Soundeffekte und stampfende Drums angezogen. Ein exzentrisches Ende für eine exzentrische EP.

Sascha Funke ist ein in Berlin ansässiger Produzent und DJ mit einem Backkatalog von zwei Jahrzehnten an Veröffentlichungen. BPitch Control, Turbo Recordings, Endless Flight, Running Back und einige andere angesehene Labels haben seine Arbeiten veröffentlicht. Heute kreiert er weiterhin geschmeidige Sounds, die verschiedene Genres wie House, Techno, Disco, Krautrock, Wave, Electro und unklassifizierte Anomalien miteinander verweben. Als DJ ist Funke genauso freizügig wie seine Produktionen. Er hat unter anderem im E1 in London, im Caos in São Paulo und im Renate in Berlin aufgelegt und seinen mitreißenden Sound einem weltweiten Publikum vorgestellt. Da er schon als Jugendlicher mit Eurodance in Berührung kam, sind in seiner Arbeit immer wieder Anklänge an dieses Genre zu hören, die aber auf eine Art und Weise vermischt werden, die ganz typisch für Funke ist. Niemals verändert Funke seinen Sound nach dem neuesten Trend, sondern bleibt seiner kreativen Vision treu - eine der größten Herausforderungen für Produzenten heutzutage.

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

Nach 'The Burden of Restlessness' und 'Acheron' aus dem Jahr 2021 folgt mit 'Regenerator' der dritte Teil von King Buffalos "Pandemie-Trilogie". Geschrieben und aufgenommen von der Band mit Mixing und Engineering von Gitarrist / Sänger Sean McVay und Mastering von Bernie Matthews.
Das 7-Track-Album ist nun also die dritte Verschmelzung progressiver Rhythmen, treibende Atmosphären zu einem spannenden Psychedelic Rock-Schmelztiegel.
Das sehr melodische Highlight 'Mammut' - mit McVays selbstbewusstester Stimme schimmert vor verzweifelter Hoffnung, auf 'Hours', entfalten sie klassischen Space Rock und die das abschließende 'Firmament' dient als Zusammenfassung aller drei Alben, die das Finale markieren von einer Trilogie, die wesentlicher Eckpfeiler von King Buffalo's Arbeit ist. 'Regenerator' ist auf CD sowie 180. Gr. LP erhältlich. Weißes Vinyl (inklusive Download).

VISIONS schrieb zum Vorgänger:

"…Umso schöner dann die Nachricht Anfang März, dass das Trio aus Rochester, New York in diesem Jahr drei Alben veröffentlichen will. Das passiert also, wenn man Ideen und - virusbedingt - Zeit hat. (…) Darunter pulsiert ein dichter Groove zwischen Psych und Prog. Tatsächlich sind King Buffalo nicht mehr weit von Tool entfernt. Der Klang von "The Burden Of Restlessness" ist unglaublich. Die Verstärker brummen und grummeln, die verzerrten Schichten sind transparent, der Bass groovt viril und transparent darunter und das Schlagzeug liefert ein sattes Fundament. Aufgenommen, produziert und gemixt hat die Band das Album selbst, was die Sache noch eindrucksvoller macht. "The Burden Of Restlessness" ist ein faszinierender, stimmungsvoller Trip, eine in sich bemerkenswert geschlossene Platte. Dessen aggressivere Ausbrüche sorgen meist ab Mitte und gegen Ende der massiven, mäandernden Songs für Höhepunkte." (VISIONS Juni 2021)

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

Joseph Thomas Escovedo, better known as Coke Escovedo, was an American percussionist who played in several genres, including jazz fusion, R&B, and soul. Escovedo played with great names such as Cal Tjader and was a member of Santana and Azteca.

In 1976 he released his second solo studio album Comin’At Ya!, which counts 11 Latin rooted tracks and was produced by the synthesizer pioneer Patrick Gleeson, who also did several successful soundtracks and worked with greats such as Herbie Hancock. The album features vocals by Courtial singer Errol Knowles and also a guest performance by tenor saxophonist Joe Henderson. The album became highly influential and was sampled many times, including by Eric B. & Rakim, MF Doom and Moby amongst others.

Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop and house music in its traditional sense get mixed up in a blender of happiness.
Lauer’s latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it’s everything you would expect or want from him. A world of merry music, where melody is king.

On top of that , you get value for your money: Vocal blockbusters like the upbeat Somebody (instrumental included) and the more restrained Friends (both with frequent collaborator Dena), sit comfortably between instrumental hits. Resonator and Neway take the role of the proverbial keys to happiness, while the title track or Exterminate balance it out with joyful melancholy.
Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn’t blown.

Die legendären King's X, bestehend aus dUg Pinnick, Ty Tabor & Jerry Gaskill, freuen sich, die Veröffentlichung ihres 13. Studioalbums 'Three Sides of One' über InsideOutMusic/Sony Music bekannt zu geben. Es ist das erste neue Album der Band seit 14 Jahren, für das sie sich mit dem Produzenten Michael Parnin (Rage Against The Machine, Mark Lanegan) zusammengetan haben, um es in seinem Blacksound Studio in Kalifornien aufzunehmen. dUg kommentiert: 'Es kommt mir vor, als wäre es eine Ewigkeit her, dass wir ein neues Album herausgebracht haben, und ich bin bereit, dass die Welt unser neuestes Werk zu hören bekommt, das hoffentlich ein bisschen von allem enthält, was man an King's X liebt. The groove is with us!" Das Album wird als Limited Deluxe Gatefold 180g Marbled 2LP + CD mit einem exklusiven, handnummerierten Druck und Poster, sowie als Ltd CD Digipak, Gatefold Standard 180g 2LP + CD und als Digitales Album erscheinen.

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

Danish Artist Troels Hammer has released 5 albums to date, with his sixth House of Memories due out later this year. As yet there has only been a sampler 12” on vinyl. Therefore ‘An introduction’ LP is a compilation of tracks exclusive to Vinyl for fans and new listeners to enjoy.

Troels was discovered by the Danish producer Kenneth Bager in 2012 and has already gained great recognition for his music on both the Danish and the international scene

The style is instrumental and moving in the area between nu-classical, lounge, dance, ambience and electronica. When Troels Hammer sits down at the piano, the music flows through him and brings the audience in a mood that is both relaxed and intense. He himself says that he creates music you can go in and out of –and get carried away by.

A co-founder of the P-Funk movement, Clarence Eugene ""Fuzzy"" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released two landmark solo albums on Westbound Records: `A Whole Nother Thang' in 1976 and `Radio Active' in 1978. With his brand of earthy & heavyweight funk, Fuzzy Haskins' solo works fits right in with many of the other great P-Funk side projects and was sampled by renowned artists and acts from the likes of Prince, The Prodigy, N.W.A and Fatboy Slim.On the album we are presenting you today (Radio Active from 1978) you'll find eight sublime tracks written (or co-written) by Mr. Haskins himself and recorded by Richard Becker at the legendary PAC 3 Recording Studios in Dearborn, Michigan where classic albums from Norman Feels and Dennis Coffey were born. One of the tracks (Woman) was personally mixed for the album by Tom Moulton (the originator of musical revolutions like `the remix', `the breakdown section' and the `12inch single vinyl format').Fuzzy switched between drums and guitar, while taking charge of the lead vocals and production, he was accompanied in the studio by an all-star musician line-up of P-Funk family members such as Jerome `Bigfoot' Brailey (drums), Cordell `Boogie' Mossom (bass), Gary Shider & Michael Hampton (guitars), Glen Goins (piano, drums & guitar)_and of course the fantastic Mr. Bernie Worrell on keyboards. Besides these Parliament/Funkadelic alumni, also present on the recordings are Bruce Nazarian (The Temptations) on Moog and Jazz pianist Gary Schunk (known for his collaborations with Marcus Belgrave & Wendell Harrison).The result of all this musicianship was a record that oozed quality. Despite the quality of the music (and just like with `A Whole Nother Thang') the album didn't sell the vast quantities that were projected and didn't reach the audience it deserved.`Radio Active' is filled with keyboard-driven spacey funk, sharp hooks, popping bass-lines, JB styled soulful (yet sexy) vocals, a hint of disco, fantastic guitar build-ups and breaks that make you shake_a true gem that deserves a place in your record collection (mint vinyl copies are hard to find and pricey these days). If you are a Funkateer_this one's for you! This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork created by virtuoso Ronald Edwards (known for his graphic work with Parliament-Funkadelic, Bootsy Collins, Fred Wesley, George Clinton, Maceo Parker, Bernie Worrell, Fishbone_and countless others). To top it all off, this release also includes an insert featuring the original liner notes written in 1994 by renowned author and producer Rob Bowman (Otis Redding, Isaac Hayes, Marvin Gaye) who reflects on Fuzzy Haskins' two solo albums.

Die dänische Melodic Death Metal Band DEFACING GOD steht mit ihrem Debütalbum The Resurrection of Lilith in den Startlöchern, das am 2. September 2022 über Napalm Records veröffentlicht wird. Die
2015 von Sängerin Sandie ”The Lilith” Gjørtz und Drummer Michael Olsson gegründete Band folgt mit ihrer harschen Musik skandinavischen Metal Traditionen und im Zentrum ihrer Texte steht der Mythos um den weiblichen Dämon Lilith, der Unabhängigkeit und unbeugsamen Widerstand symbolisiert. DEFACING GOD gelingt es mit ihren Erzählungen, ihrer Musik und der düsteren Ästhetik die Hörer in ein dunkles Universum von obskuren Mythen und uralten Geschichten zu locken. Gleichzeitig ziehen sie von diesen
Mythen subtile Verbindungen zu aktuellen gesellschaftlichen Themen, wie Unterdrückung oder auch inneren Dämonen. Auf klanglicher Ebene schließen DEFACING GOD an Bands wie Cradle of Filth, Carach Angren und Dimmu Borgir an und balancieren massive Melodien, die durch die grandiose Orchestrierung von Lars Vinther untermalt werden. Anstatt diese symphonischen Melodien mit Black Metal verschmelzen lassen, werden sie bei DEFACING GOD rohem Death Metal gegenübergestellt. Produziert wurde ihr Debüt The Resurrection Of Lilith von niemand geringerem als Jacob Hansen, der für seine Arbeit mit Fleshgod Apocalypse, Volbeat, Evergrey, Epica und unzähligen anderen bekannt ist.

Die Titanen des Thrash Metal sind zurück!

Megadeth veröffentlichen am 02. September ihr sechzehntes Studioalbum „The Sick The Dying… And The Dead!“ mit 12 brandneuen, unveröffentlichten Songs. Nach dem GRAMMY-gewinnenden Erfolgsalbum „Dystopia“ bleiben die vier Metalheads voll auf Erfolgskurs und lassen jedes Fan-Herz höherschlagen. Auch dieses Mal geht es um schmetternde Gitarren, fette Drum-Sounds und die markerschütternde Stimme von Frontmann und Produzent Dave Mustaine. Von nostalgie-getränkten Songs wie “Night Stalkers” mit
Mega-Feature Ice-T hinzu dem emotionalen und namensgebenden Song “The Sick The Dying… And The Dead” ist alles auf dem umfassenden Album vertreten.

Mustaine zeigt sich mehr als glücklich: „For the first time in a long time, everything that we needed on this record is in its right place. I can’t wait for the public to get hold of this!”.

Das Album erscheint als Jewel-Case CD und Gatefold 2LP

(Remastered 2022)

Das Album „A Single Man“ von Elton John wird am 2. September wiederveröffentlicht.

Das Album war eines der am heißesten erwarteten Alben in der Karriere von Elton John und brachte zwei von Eltons beliebtesten Hits hervor, ”Part-Time Love” und den ergreifenden, fast instrumentalen
Song ”Song For Guy”. Es ist auch das Album auf dem Elton zum ersten Mal ohne den Produzenten Gus Dudgeon arbeitete und zum ersten Mal mit Bernie Taupin zusammenarbeitet.

Da Album wurde originalgetreu neu verpackt und ist jetzt auf 1LP als 2022 remastered Ausgabe erhältlich.

Das legendäre Debutalbum der Krautrock-Folk Band aus dem Jahre 1972. Produziert in den Dierks-Studios unter Mitwirkung von Dieter Dierks. Was für eine erstaunliche Verbesserung im Klang dieser 50 Jahre alten Aufnahme. Unter Zuhilfenahme der originalen, analogen Masterbänder und modernstem, technischem Equipment erscheinen die einfühlsamen Melodien des Debutalbums in einem wunderbaren Licht von Romantik und Empathie. Remastert in den Dierks-Studios, wo auch die Aufnahmen entstanden. Die LP erscheint auf dem originalen PILZ - Label.

Orange w/ black marble vinyl. 180g. To celebrate their seventh anniversary, Black Screen Records have once again teamed up with Oddworld Inhabitants to release the soundtrack to Oddworld: Soulstorm - the explosive second game in their brand new Oddworld Quintology - on limited edition 180g vinyl. Composed, mixed and mastered by the American EDM DJ and producer Josh Gabriel - you may know him from his work on the Oddworld: Abe's Oddysee soundtrack - the official soundtrack comes on limited edition 180g orange/black marbled vinyl in a full-coloured gatefold sleeve and includes four intense ambient bangers from the latest installment of the Oddworld series. All tracks have been remastered for the vinyl format by Christian Bethge. "Josh's unique music has been the ideal soundtrack to Abe's story since its very beginning. This selection of completely original tracks are a clear progressive evolution of that sound, which is a perfect match for the expanded ambitions of the game itself." - Lorne Lanning ABOUT THE GAME: Oddworld: Soulstorm is the explosive second game in a brand new Oddworld Quintology that tells the continuing story of Abe and his comrades as they discover further crimes against Mudokonkind and look for the spark that will ignite a revolution.

UK-based producer Yak is one of the strongest talents in percussive, bass-heavy club music. His debut record Mido, which appeared on Version in 2017, remains an ultimate DJ weapon (Hard Wax) up until this day and is still tearing up clubs and festivals everywhere. After releases on Martyn's 3024 and the es-teemed R&S label, Yak delivers his third record (vinyl & digital) on Version, Balmora Blue/Swex.
This is a proper double A-sider that will surely get your dance bubbling. Swex and Balmora Blue are future rave anthems coming with earth-shattering sub, warm, elevating synths - and the trademark Yak drums to resurrect a dead soundboy's nana. Both tracks range around 120 bpm, but will sound as crisp at high-er/slower pitch or rpm too, making them versatile tools in every DJ's chest. Another essential bit from Yak and Version. Played by Vladimir Ivkovic, Moxy, Madam X, Or:la & Breaka.

Gatefold-LP (weißes Vinyl) inkl. gefütterter Innenhülle und Schutzhülle (500 Stück erhältlich)

Gatefold-LP (weißes Vinyl) inkl. gefütterter Innenhülle und Schutzhülle (500 Stück erhältlich)

Dubfire - Bottom Dweller

‘Bottom Dweller’ is the third of four singles for Dubfire’s debut album ‘EVOLV’. An 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC. EVOLV’s concept? The journey
of the ‘hybrid’ being and its evolution since its first appearance in 2015, as part of his two-year World tour following the release of his retrospective release ‘A Decade Of Dubfire’.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007.

A career filled with timeless tracks include his early works ‘Ribcage’, ‘Emissions, ‘Roadkill’ and the highly acclaimed ‘Exit’ with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver
Huntemann, Chris Liebing, Tiga and co-producing two tracks on the legendary Underworld’s ‘Barking’ album.

‘Bottom Dweller’ gives you two different versions, the original is straight forward, yet effective for a late-night head down cut, where the ‘Meltdown Mix’ takes a minimal path, and faster pace. ‘Swerve’ sees Dubfire return to that stripped back sound with heavy swinging percussion, a landmark and much-loved element in his music.

Singer/Songwriter-Kunst aus UK, prominent mit dabei Paul Weller! In Zusammenarbeit mit Paul Weller als Produzent und Co-Autor seines 5. Studioalbums veröffentlicht der Liverpooler Troubadour Steve Pilgrim das schmerzhaft melancholische ,Beautiful Blue" auf Ltd Vinyl und CD. Auf dem Album wirken Paul Weller, Steve Craddock und Rachael Jean Harris mit Streicherarrangements von Hannah Peel mit. Ein Text von Paul Weller war die einzige Inspiration, die Steve Pilgrim brauchte, um die Arbeit an seinem mit Spannung erwarteten sechsten Album ,Beautiful Blue" zu beenden. Er spielt seit mehr als einem Jahrzehnt Schlagzeug und singt mit der lebenden Legende Paul Weller. Skizzen von Liedern, Melodien und Akkordfolgen wurden der Anfang einer gemeinsamen Schreibrichtung von Pilgrim und Weller und brachten das Material an einen neuen Ort, der den sanftmütigen Scouser auf eine Art und Weise anspornte, die nur Weller hervorrufen konnte. Stücke wie ,Test of Faith", ,Don't Let The Mirror Break You", ,One With All", ,Universe" und ,Where Our Love Goes" erinnern an Pilgrims frühere Arbeiten, sind aber mit einer Wärme und Klassik versehen, die man auf dem gefeierten Album ,True Meanings" seines Co-Autors findet. Mit der Unterstützung des Toningenieurs und Klangzauberers Charles Rees und den Streicherarrangements der renommierten Hannah Peel ist Beautiful Blue" das Werk eines Künstlers, der seine Stärke im Stillleben findet und am lautesten schreit, wenn er flüstert. Die Songs auf diesem Album sind stromlinienförmig, ohne Fett und bieten ein komplexes akustisches Gitarrenspiel, das sich in und aus einprägsamen Melodien ('New Sky'), wogenden (das wunderschöne Titelstück) und umwerfend zarte Gesangsharmonien ('Everyday') einfügt.

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

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

The opening rimshot drums of "Loveliness Of You" by Carlton Jumel Smith and Cold Diamond & Mink have sunday soul written all over them. This easy breezy groover closes Calton's 2022 singles trilogy with a style that echoes classic Hi productions for Al Green from the early 1970's. It's clear that on Timmion Records, Carlton has found a home far away from home.

Carlton's soulful demeanor is hard not to like, and if there is any truth to what he's singing here, some even seem to fall in love with it. The recipe is not complicated here, and there is no reason to keep it a secret: just a steady groove by a tight rhythm section, horns that lift the beat off the ground and a voice that wraps itself around your heart. And sometimes that's all you need.

When Rey Sapienz was eight years old, the Democratic Republic of Congo was plunged into the Second Congo War. The conflict last five years and was the bloodiest since World War II, leaving an indelible mark on East Africa and creating mass displacement and loss of life. But Sapienz endured, cutting his teeth as a young rapper at twelve, first performing to celebrate Congo's independence day. When he finished school, he headed to nearby Kampala to hone his craft and collaborate with local producers. But civil war broke out back home and he was forced to extend his stay in Uganda. Since then, Sapienz has established himself as a force to be reckoned with, co-founding the Hakuna Kulala label, teaching his Ableton Live skills to Kampala's young producers and releasing two acclaimed EPs. For his debut album, Sapienz embarks on an ambitious project that travels beyond the avant beatscapes of his early material. Alongside traditional percussionist, vocalist and dancer Papalas Palata and rapper Fresh Doggis, he has formed The Congo Techno Ensemble, utilizing their skills and experience to offer a statement that speaks to the past, present and future of the DRC. On "Eza Makambo", the trio channel rich musical traditions and historic tension, evolving electronic and traditional forms into boundless sci-fi mutations. The track breaks open the stories all three artists accumulated in the DRC, augmenting radioactive techno-dancehall beats with radical, open-hearted words and rhymes. "Eza Makambo" is a heady cocktail of stylistic futurism and harsh reality that could be compared with Zizou Bikaye's seminal "Noir et Blanc or Danis Mpunga & Paul K.'s genre-breaking electronic experiments. But marked by the DRC's recent scars, it's a critical work that stands painfully alone.

Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently
living in the most quintessential European city, Brussels.

Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life.

The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that adds even more to the originality of the sound. Take for Example the lead track ’AppleBanana’ - Echoes of Chiemi Manabe, Hosono and even overtones of Akiko Yano are all seamlessly there. 'Sand Dungeon' is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled 'Anime Song' could be an unreleased track from Testpattern’s infamous and sought after LP. 'Lovely Song' in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world.
'CASH OK' harks back to New York’s 90’s Jazz Street scene, paying tribute to her Brooklyn live gigs, and album closer 'Tsuki No Yama' goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries.

Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes us wonder - how did Shoko manage to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.

Buraka Som Sistema co-founder and Enchufada label-head Branko presents OBG, his third album. The artist's most personal and reflective work to date, it's a letter of love and thanks to the community around him, to Portugal's breathtaking landscapes, and to the syncopated, window-rattling rhythms that emanate from the clubs and car stereos of Portuguese cities.

OBG is an album of organic textures and invitingrhythms, created in Branko’s signature style, andinspired in part by a series of outdoor DJ-setsperformed and streamed from beautiful locationsacross Portugal.

Features collaborations with his favourite up andcoming artists, including Cameroonian-Guadeloupean producer Ms Mavy, Cape Verdeansinger ÉLLÀH and percussionist Iúri Oliveira

Originally distributed & released through Mo's Music Machine in 1997 (Cat: BREAKS1), then later revamped by 500 Rekords in 1999 (Cat: FHR-508) under IN-SYNC "Cool The Menta". The producer/artist unravelled that the title meaning was to (Cool the mentality) or when issues arouse in a dance that everyone should be cool and calm and maintain good vibes. On this release, the artist opted for the original artist/title details. 300 copies

‘Dark Farfisa’ is the debut EP by Bruxula, the studio project of Toronto’s Cosmic JD and Jerusa Leao. Firmly rooted in the city’s music scene, JD runs the Hypnotic Mindscapes parties and label whilst Jerusa works as a singer and multi-instrumentalist exploring traditional and fusion sounds centered around a Brazilian music repertoire. Introduced to us by our mutual friend Raf Reza, the pair began to jam together in the summer of 2020 with JD curious to incorporate Jerusa’s vocals into his often club-focused electronic productions. The results sit somewhere between the dancefloor and the living room, a psychedelic range of rhythm, melody and vocal harmonies that felt like an immediate fit for us.

First sharing an early mix of ‘Pala Mo’, the rest of the EP began to form quickly based on further recording sessions and we at 12th Isle are ecstatic to share their work with the world.

Red Vinyl

Scottish DJ and production duo Co-Accused return with the second release on their own Co-Accused Records label. The thunderous EP features four tracks from Sosak, Fear-E, Acidulant and Co-Accused themselves. They kick things off with the pounding 'PA2 Crew'. An ode to the hardcore they both loved in their earlier raving days, the title of the track pays homeage to their hometown of Paisley. Track two comes from Sosak, an alias of Glasgow's Gary Beck. Sosak’s 'Do One' keeps the energy high with pulsating synths and driving drums. On the flip side, Fear-E’s 'Rhubarb and Custard' is a jackin 'journey filled with melodic elements and chaotic atmospheres. Self-confessed acid freak Acidulant brings the release to a close with the deep, dark and moody 'Drankx'. A hypnotic trip into the void.

Anton Klint hails from Sweden and likes to make music at night. In his first release for Hivern he shows once again his knack for producing highly amusing electronic dancing sounds. Both of his tracks in 'Lyckliga Mnniskor' are twisted, playful and hard to pin down, which gives them a unique freshness. The title track is a schizoid take on tribalistic house, in which playful percussion layers and nervous synth sequences provide the background to its menacing vocal sample. 'Djembe Unchained' is, as its title suggests, still heavy on the percussion, but these are generously processed through delays to build a spaced-out and dizzy atmosphere. The track gets the remix treatment by our long-time favourite Black Merlin, who sharpens the beat to invoke mystic forces and push 'Djembe Unchained' into slo-mo cosmic techno territories. The artwork is by Barcelona-based artist Xavier Marin.

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

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.

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

Originally released in 1990 ‘Voaria’ was written by Benjamin Nhassavele and produced & arranged by the late Tata Sibeko, the revered South African producer and member of Kabasa. Taken from the LP of the same name ‘Voaria’ was released at a time when early house music was emerging as a key influence in the South African musical landscape, an evolement of the Bubblegum pop sound that had fused disco and boogie with township funk. Characterised by Roland kick drums, Yamaha DX7s and Juno Synthesisers the Kwaito sound is the musical heartbeat of ‘Voaria’.

As well as being in Novidade, Benjamin toured the world extensively as part of Alec Kaholi’s Umoja and ‘Voaria’ is a song about his desire to go back to Maputo, his hometown in Zimbabwe. Featuring Benjamin on lead vocals ‘Voaria’ comes in 2 versions, a main House mix on the A side and the Clubhouse mix on the flip which switches up the arrangement placing more emphasis on the magical groove. The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Produced mainly by Jerry Corbetta (Sugarloaf) and Dolenz, “Demoiselle” features solo recordings
made between 1981-1992 and includes previously unreleased material. Originally planned for release
in the early 1990s, the album never received a record deal for a number for reasons. Dolenz privately
released nine of the recordings in 1998, but they were only available for a short period of time via mail
order. This new and definitive version of Demoiselle has been remastered from the original master
tapes. It includes 3 previously unreleased bonus tracks and presents the material in a different
sequence. Available on CD and Vinyl, the CD comes in a deluxe digisleeve and features a big 32 page
CD booklet with extensive liner notes, lyrics and previously unseen photos. The LP version comes in a
gatefold sleeve and is pressed on 180g Red Vinyl.

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans.
Accepted by all fans as being supremely influential for defining the format and scope of the
Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing
with a series of album. Over the years he recorded many trio albums with frequent changes
of members, with the most lauded being his first and second line-ups. By May 1962 Evans
cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the
group, and together this second classic line-up cut two albums in the same sessions. The
first was Moon Beams which contained ballads, while the second one, How My Heart Sings,
had the up-tempo numbers. These were recorded as a mixture during the sessions as
producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so
made up the album from the varied session tracks. During the recordings, Evans only
revealed the tracks to his trio at the session itself. Fans and critics alike were more than
appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in
especially well with Motian

Grammy nominated, Love Scenes features Diana's mastery of the romantic ballad in an intimate piano trio setting with Russell Malone on guitar and Christian McBride on bass.

"When my producer, Tommy LiPuma, and I were deciding on the songs for my newest album, it never occurred to me that the songs we ultimately chose would be all about love. I selected songs that I personally liked, and that had a special meaning for me. However, as is often the case during the creative process, a connection among the songs just seemed to organically appear. The songs are indeed about romance. But to me there is a broader and more personal attachment to each of the songs than the standard definition of romantic love might imply. I think that these songs represent the strength of love, including the love of family and friends. But rather than describing my own thoughts about each song, it is my hope that all of you who listen to the music and read the lyrics will discover and imagine your own personal "love scenes" among the mountains, oceans, rain and gardens of these songs." - Diana Krall

A partner album to the previous Miles release "Decoy," this album released in 1985 is also produced by Miles and loaded with the synths of Robert Irving. This LP has some surprising new looks at pop tunes by Micheal Jackson and Cyndi Lauper and also features the return of John McLaughlin on guitar, and a guest performance from Sting. This is the final installment of the prolific and brilliant collaboration between Miles and Columbia Records. Also featured on this album are Al Foster, Kenny Garret, and Daryl Jones.

This record is self produced by Miles himself! Without long time production collaborator Teo Macero, Miles chases new directions with this 1984 recording. Miles allows keyboardist Robert Irving and guitar legend John Scofield to write most of the material on the LP. This record is dripping with some of the new sounds of synths which makes this a very unique entry in the Miles catalog. This album features John Scofield on guitar, Robert Irving on synths and programming, Darryl Jones on bass, Al Foster on drums, Mino Cinelu on percussion, Bill Evans on sax, and a guest appearance from Branford Marsalis.

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

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

THE CLASSIC SLAB OF PURE 80's DOOM METAL FROM THE SWEDISH
LEGENDS – PRESENTED ON SINGLE BLACK VINYL
Candlemass was formed by bassist & songwriter Leif Edling in Stockholm,
Sweden in 1984 & is well known for its epic doom metal, having a great influence
over a generation of the genre's subsequent greats such as Paradise Lost & My
Dying Bride - Candlemass themselves taking a large influence from Black
Sabbath.
'Ancient Dreams' was Candlemass' third album, released in 1988 & it featured a
natural progression of slow- mid tempo epic arrangements from their previous
release, 'Nightfall' - perhaps even more distinction between slow & faster parts -
with the unique tones & unmistakable voice of Messiah Marcolin still dominating
proceedings on this pure doom metal classic.
With a perfect balance between melody & sheer heaviness, it is still debatable as
to whether this is the ultimate Candlemass & therefore greatest doom metal
album of all time, with some giving this title preference over the seminal 'Nightfall'
album.
'Ancient Dreams' was produced by Leif Edling & Candlemass & was recorded at
Stockholm Recording studios in 1988. This edition of 'Ancient Dreams' is
presented on single black vinyl, featuring the original cover art.

JON GOMM'S 'THE FAINTEST IDEA' WILL BE REISSUED ON VINYL FOR
THE FIRST TIME SINCE 2020.Jon Gomm, the UK based acoustic guitar
virtuoso, finds new emotional depths in immense melodic pop
landscapes, with his 'The Faintest Idea'
As one of the pioneers of the modern fingerstyle sound, Jon Gomm has a rare gift
for turning one instrument into what feels like an entire orchestra. The singersongwriter's 2003 home- recorded debut, 'Hypertension', was nothing short of a
musical revelation. Things changed for Jon when landmark single 'Passionflower'
racked up millions of views on YouTube & other media platforms in 2012 – with
British legend Stephen Fry describing him on mainstream television as someone
"playing the guitar in a way I'd never seen it played before" & "an all-round genius".
The Faintest Idea's title is based on the notion that all of us, to some extent, are
just 'The Faintest Idea', "It's an enigmatic title," says Gomm. "There's a fine line
between a metaphor & a pun, so I guess it dances on that" & explores the
contrasts between the warmth of Gomm's acoustic articulation with more icy
affairs, thanks to the synth parts & production work from Australian musician
Andy Sorenson, together they have created a contemporary masterpiece.
The Faintest Idea's immersive & emotional 11 tracks see a musician coming to
terms with the talents that got him recognised & choosing to evolve into the
unexpected. This album just boils down to the magic of one man with his guitar &
voice. And what a powerful magic it is.
The album is complemented by the delicate hand drawn pen & ink cover art
created by Lee Zimmerman. 'The Faintest Idea' is issued via Kscope on Black LP.

Since releasing their first album There Is a Bomb in Gilead in 2012, the
road-worn Birmingham, Alabama band has built a reputation as being
what NPR calls 'punks revved up by the hot-damn hallelujah of Southern
rock' who carry on 'the Friday-night custom of burning down the house,' a
raw live sound that they captured with Texas punk producer Tim Kerr on
studio albums Dereconstructed (2014) and Youth Detention (2017)
before recording a full-on live album at their favorite hometown dive, Live
at the Nick (2019)
While the Glory Fires have spent a decade propagating what the New York Times
calls 'pandemonium with a conscience,' they've long talked about wanting to
make a classic record'not a transparent document of their playing live with the
occasional embellishment'but a record. So, that's what they did. They contacted
Athens, Georgia's David Barbe, whose work with the Drive-By Truckers, Sugar, Son
Volt, Vic Chesnutt and countless other artists has earned him a legendary
reputation amongst Southern independent rockers, and they agreed to set about
bringing this vision to fruition. While tackling such lofty political, historical and
philosophical concepts, the album is also the band's most intimate, vulnerable
and spiritual to date. The perspective is both outward- and inward-facing, Bains
never taking on the persona or experience of others, but rather writing about the
way his own limited experience and perspective of the band's place can lift the
veils of false narratives, and uncover 'piles of winding stories' through time. In an
age characterized by individualism, and at a time when the past seems to be the
sole domain of the status quo, Old-Time Folks illustrates the deep, thick, tangled
roots of liberation, collectivism, mutuality and solidarity in the Deep South, and
where they are flowering and bringing forth fruit today.Packaging: CD Old- Style
Stoughton-Tip on Jacket