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Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás.After being out of print for a while, the LP has now been revamped featuring new artwork and liner notes written by Andrew Mason and Daniel Collás, plus photos from the sessions.

“This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.

The reactions to this album were gratifying. Diehard fans accepted it as a welcome addition to the canon and regularly compared it to some of my favorite records of Bataan's. At one point a New York radio station's listener poll listed two songs off of the album in the top ten of all-time best-loved Joe Bataan songs, and Ry Cooder enthusiastically mentioned "Call My Name" in a Wall Street Journal interview.” Daniel Collás, producer of "Call My Name".

Hot ‘n’ fresh outta the oven well, ok, the studio then comes
the second release on our §edgling imprint Bakery Dubs,
sister label to Neighbour Recordings. Mixing the ingredients
this time are Base Pilot, aka label co-owners and production
tag-team of Quantec and Birke TM. Both have form when it
comes to the craftier side of house and it shows here with
two tasty treats; Another Day, a cultured and organic cut that
teases and tempts with a deliciously infectious groove, while
Basement 97 is a heady brew of classic deep house infused
with a hefty pinch of Base Pilot §avourings.

Recorded in a pool house surrounded by an evergreen oak tree forest just outside of Madrid; musician and composer Oliver Patrice Weder’s second artist album ‘The Pool Project’ combines textural and meditative sounds that touch on global influences from jazz, ambient and modern composition. In conjunction with the album, Spitfire Audio has released ‘The Pool Project’ sound library, inviting composers and producers to reimagine, recreate or completely pull apart Oliver’s sound world to facilitate their own vision. Capturing the unique acoustics of the pool house, the library is presented in Spitfire Audio's award-winning, easy-to-use plug-in and features a range of controls and effects. While ‘OPW’ was inspired by constant movement and travelling, ‘The Pool Project’ had quite a contrary motivation. Oliver explains “After making my debut album, it was clear for me that it was only the beginning of a long journey. I enjoy the process and idea of creating something deeply personal and connected to the situation I am in, a snapshot of time so to speak, so I had to start writing a second album sooner or later. I love change and find it very inspiring to creatively adapt to my surroundings and circumstances to see what comes out at the other end. I spent the lockdown time living in a countryside cottage just outside of Madrid, surrounded by holly oak trees. The combination of this and seeing my one year old daughter grow up, as well as expecting another baby boy, created a very unique and fruitful environment to draw inspiration from.” Confirmed press/radio: Future Music - Album review Electronic Sound - Album review Scala Radio -Ambient Track of the Week Scala Radio - Session Track/Interview Reviews: "Rich in beauty and emotion… one of the finest modern composers around" - 8/10, Future Music Mag "Sounds like a warm oasis of calm" - 8.5/10, Higher Plain Music Achievements: Recorded and toured across Europe with various bands including psychedelic rock band Time for T. Composed for the BBC. Lead composer at Spitfire Audio. In 2017, Oliver co-scored the feature film ‘The Haunted’ and made a vlog style series Inside the Score with Spitfire Audio, documenting the entire process — from meeting the director, to seeing the film shown at various international film festivals. Released OPW, a sample library and album, in 2019 with SA Recordings x Spitfire Audio. Interview with MusicTech.

It’s been a whirlwind year that has seen her rack up a laundry list of achievements that would make most seasons artists blush, and now, 25-year-old rapper and singer ENNY releases her highly anticipated debut EP Under Twenty Five. Executive produced by long-time collaborator Paya, the project features her three previously singles Same Old, I Want and Peng Black Girls (feat. Amia Brave) and is available to purchase/stream via FAMM below.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.

BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun. Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person. A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self-dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement. Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others. Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy-awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.

Hot on the heels of her standout debut single ‘Cool Kid’, hotly tipped 17-year-old YALA! Records signee Cathy Jain has today shared the title track from her highly anticipated forthcoming debut E.P ‘Artificial’

Echoing the modernist pop of Billie Eilish, the production flair of Frank Ocean’s more soothing moments, and Lana Del Rey’s nostalgia for the recent past; ‘Artificial’ is a hazy, sun-kissed, R&B-tinged alt-pop track that stands Cathy out as a unique new voice.

Cool Kid immediately made an impact at Radio 1 with the track added to their coveted Introducing playlist; garnering big on-air talk ups from Annie Mac, Clara Amfo and Greg James, while Jack Saunders subsequently named it as his Next Wave pick. Further radio support came from Lauren Laverne and Steve Lamacq at 6music. Whilst glowing write-up’s from NME, Clash, and Line Of Best Fit added to the groundswell of support from leading industry tastemakers.

Selectors Choice is a collection of Reggae tunes from some of the best producers and artists cut to limited edition vinyl. The 7"s feature new releases, remixes and classics that deserve to be repressed and tunes that have never been pressed to vinyl.

The 12"s concentrate on compiling tracks of the same riddim that have never been released together that include unreleased versions and brand new releases.

They are specifically catered for any Reggae collector, selector and DJ.

This release features the Rasta anthem ‘Picture on the Wall’ by the Natural ites by the dub and the vocal and dubs for I Want Your Love

Bumps Per Minute is a full-throttle reinvention of the traditional fairground dodgems, from Mercury Award-shortlisted composer, producer and musician Anna Meredith. The music is part of the DODGE installation, which can be experienced until 22nd August at Somerset House.

For Bumps Per Minute, Meredith has collaborated with BAFTA-winning sound artist Nick Ryan to design a bespoke tracking technology so that every thump, bump and swerve of the 18 dodgems around the track can trigger a separate composition. This results in a kind of ultimate shuffle where high octane music and ideas compete for airtime and each performance is unique. The installation will occur approximately every hour at DODGE through the day/evening.

The idea for Bumps Per Minute came about when the composer was thinking about what might be a more pandemic friendly replacement for the ice rink at Somerset House where she has her studio. The idea grew from there and now this summer DODGE is taking over the main courtyard at Somerset House, featuring a full smorgasbord of Yinka Ilori designs, DJs, food, drink and of course, dodgem rides.

Today, Meredith announces that she will be releasing a special extended cut of her material via Moshi Moshi out on the 15th July 2021. Bumps Per Minute: 18 Studies for Dodgems will feature full-length individual musical identities of all 18 dodgems – each one a bold and distinct musical track in its own right as well an intro and outro track (voiced by comedian Rob Broderick).

The key to both the dodgems themselves and the release is a user ‘driven’ triggering and shuffling of the material. Meredith encourages the listener to ‘take the driving seat’ and jump from one track to another, mirroring the real dodgem ride, shuffling and curating their own listening experience via the virtual interactive dodgems page or their preferred listening platform.

Bumps Per Minute: 18 Studies for Dodgems explodes out of the starting gate with Meredith’s uncategorisable sound and signature energy, combining fairground wildness with a healthy dose of the nostalgic electronics of old school gaming.

This recorded autobiography of Catherine Howe, age 20, briefly appeared in 1971. Too young for memoirs, most artists have barely established any sort of musical competence by the age of legal adulthood, let alone compositions matching the maturity and
complexity of Howe’s. What A Beautiful Place, however, is a prodigious effort wrought from the melancholy ruminations of post-adolescence. The album’s twelve songs unfold like a classic bildungsroman, beginning in the smoke-stained industrial county of Yorkshire, transformed by the electrified creative landscape of mid-century London, and retiring to the warm pastoral bliss of the county of Dorset on England’s southern coast. Produced by noted jazz pianist Bobby Scott, the LP—oft-mistaken for a concept album—was available for only a month in the summer of 1971, disappearing after Reflection Records’ shuttering in 1971.

During the course of quarantine, while doing multiple live streams to support Blue Note Tokyo and New York, Hiromi composed the 'Silver Lining Suite'. It is a piece for piano, two violins, viola, and cello which is separated into four movements: 1. Isolation 2. The Unknown 3. Drifters 4. Fortitude. In the past Hiromi has recorded all of her studio records in the US but given the pandemic and nature of this work, the 'Silver Lining Suite' is her first album recorded in Japan. The album was recorded by Mick M. Sawaguchi of Mick Sound Lab, mixed and mastered by Robert Friedrich at Five/Four Productions. In addition to the 'Silver Lining Suite' the album includes five other songs all composed by Hiromi, two of which are completed versions that originally where part of Hiromi's 'One Minute Portrait' video series that showcased one minute duets with artists such as: Avishai Cohen, Steve Smith, Simon Phillips, Robert Trujillo, and more.

On ‘Deciphering The Message’, Chicago-based jazz drummer and producer Makaya McCraven reworks some jazz classics. Tunes by the likes of Art Blakey, Horace Silver, Hank Mobley, Dexter Gordon and Ahmad Jamal are triumphantly reborn into the world of hip-hop. McCraven has chosen and reworked the tracks to work as a complete LP rather than individual tracks. “I always want to make music that will connect with people in one way, where it makes them nod or feel something or transport them somewhere,” McCraven said in a statement. “I also hope this makes them check out the source of this music if they have it. The music that we’re making now is part of the same route and is connected, so I want to honor tradition and release something that people can vibe to.”

 ‘Paint It Blue’ is dedicated to the man who, for many still today embodies
the central figure at the genre’s source: Julian Edwin ‘Cannonball’
Adderley (1928 - 1975). Maybe he didn’t invent Funk. Together with his
co-musicians in his 60s quintet, Cannonball’s alto sax style, his attitude,
humour great musicality, and his love for his audience allowed him to
become a synonym for funk.
 Nils Landgren, born in 1956, grew up between the music of his father, a
Jazz cornet-player, and the music of his grandfather, a pastor on the
island Gotland. He first heard Cannonball Adderley on ‘Kind Of Blue’. In
this Miles Davis Sextet of the late 1950s, they were all together: “Miles,
the master of beauty. Coltrane, the master of sound. And Cannonball
Adderley, the master of funk,” Nils Landgren writes in the liner notes to
‘Paint It Blue’. From that point on, he procured everything of
Cannonball’s that he could lay his hands on. “Without the soul of
Cannonball it would have been impossible to form my group Funk Unit
many years later,” he writes.
 Landgren edited Cannonball’s live concert announcements into his own
arrangements, so that the time jump between the original and the
nouveau arrangement appears non-existent. An effective device that
literally brings this revered musician into the fold of Nils Landgren’s Funk
Unit.
 Whoever speaks of Cannonball Adderley, must also speak equally of his
brother Nat Adderley. It was an obvious thought to invite the most
important brothers in Jazz after the Adderleys to guest on ‘Paint It Blue’;
with the high energy Funk-Jazzrock of the late 70s, the Brecker brothers
have proven worthy heirs to the Adderleys. Both of them solo on
Landgren’s track ‘You Dig’.
 The equally noble and forcible groove is delivered by the sideman to
countless Soul greats, Bernard Purdie. Bernard’s own stylistically related
production with the Brecker Brothers, Nils Landgren, amongst others is
now strongly in the public consciousness on ‘Soul To Jazz’. Much like
Cannonball Adderley, Airto Moreira owes important impulses to his time
with Miles Davis.
 ‘Paint It Blue’ is possibly Nils Landgren’s most lavish record to date and
with some certainty also his best. Landgren’s playing is cool and smooth,
with warmth, temperament and thought. Here his sound combines
organically with everything he surrounds himself with. The album sounds
as if the recordings for it were a pure joy for all participants. Nils
Landgren has the prerequisite for serious fun, the gift of intelligent
serenity.

Brown Marbled Vinyl

Following many visionary outings such as "Inhuman Series Vol 1.2.3.4" released on New Flesh Records in 2012, "Days of Dissent" released on Killekill in 2016 (repress soon) talking about the rebellion of the World and the moving "Abandon In Place" LP released on New Flesh Records in 2018 telling about the destruction of Earth by the Humans, French producer Umwelt presents his very first cinematographic yet conceptual album on his own label New Flesh Records.

Titled "Subversive Territory", this much anticipated opus sees the founder of Rave Or Die imprint exploring a post-apocalyptic world via twelve haunting songs spreading their infectious melodies and gloomy atmosphere throughout.

Don't expect any beat here as this experimental-ambient manifesto will dive you into the famous tense and dystopian universe Umwelt is building year after year. As visual as auditive, this heartbreaking masterpiece comes illustrated by Yann Legendre. This French illustrator and art director is the father of numerous beautiful illustrations for magazines, books in the movie & music industries. He is the brillant creator of great comic "Flesh Empire" edited by Casterman in 2019.

Working on his forthcoming comic "Vega" anounced for 2022 by Albin Michel, Yann Legendre joined Umwelt for this perfect matching of two arts and two artists offering us this esthetic collaboration. At the end who can say who is illustrating who: the illustrator or the musician? "Subversive Territory" sounds like the perfect soundtrack of a frightening and nottoo-distant future where humanity has collapsed! Fans will appreciate to collect two coloured vinyls in a trifold sleeve.

Reissue of Augustus Pablo's Augustus Pablo At King Tubbys, originally released in 2005. The visionary musician and record producer Augustus Pablo made some of the most unique and individual recordings in the history of reggae. As with his friend and mentor, Jackie Mittoo, the man born Horace Swaby was of mixed Indian and African heritage, and although his middle-class background might have pointed him in a very different direction, the lure of Jamaica's sound system culture captured him at a young age, particularly after debilitating health problems saw him drop out of school.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.

"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."

Belgian producer Gratts, an active DJ for more than 20 years, teams up with pioneering Chicago vocalist Robert Owens on this new house anthem for our times. Hope is built into the very fibre of ‘Brighter Future’, from its optimistic synths to the sprightly Roland drum patterns, with Owens’ lilting affirmations soaring above. On the flip, Jorge Caiado’s remix and the New Vision Dub bring the track to the late night dancefloor, recalling the 90s heyday of Murk, Cajmere and Mood II Swing.

Before relocating to NYC in 2020, Pontchartrain invited colleague Javonntte over to record several songs together at Pontch’s east-side Detroit studio.

The collaboration yielded several songs that blend Pontch’s studio prowess and dramatic sound, with Javonntte’s wide ranging performance skill, and soulful style. “Cirrus”, as the name suggests, is a deeper cloudy synth-heavy house track, previously selected by DJ Holographic for release on Carl Craig’s Detroit Love vol 6 compilation, but get’s an updated mix & master, as well as a seriously heavy remix by fellow motor city deep house honcho, Delano Smith.

“Keep Dancing” features additional vocals by Javonntte in a hard hitting and highly playable “Detroit” version, as well as a completely different version re-mixed and produced in Pontch’s Harlem studio.

Repress

Arad, real name Dara Smith, first joined the VOITAX catalogue in June 2020. Back then, the Irish artist served us up with "Radiance Haze" - a 6-track EP, spanning from heavy-hitting breaks to the ethereal ambience, with heavy features of Smith's vocals. Known for his multidisciplinary vision on music, he has also previously made seminal moves with his work as one half of Lakker, alongside Eomac, dropping groundbreaking music on heavyweight labels such as R&S, Blueprint and Stroboscopic Artefacts. For his second EP on VOITAX, Smith now returns with five beautifully crafted tracks that he titles "Augmented Fantasy". While following a similar approach, he does not fail to expand his repertoire of celestial dream-like atmospheres, which he carefully surrounds with a whole variety of vocals, and accurately placed broken drum patterns. In addition to his own singing, Arad also presents two impressive collaboration tracks, in which one of them features the voice of Stine Omar, also widely known as one half the Berlin-based pop duo EASTER. Driving rhythmics and processed, grainy vocals turn this piece into guaranteed hit material. Another collaboration with the befriended vocalist and music producer Nina Hynes serves as a touching closing chapter for this brilliantly produced, eclectic 5-tracker. All pieces are perfectly glued together while keeping their very individual character and soundscapes. The listener is certainly left with an augmented fantasy, as well as a curiosity to hear more to come from the Irish talent.

Includes remixes from Dr Packer + Mark Lower

Adelaide based producer Mell Hall arrives with a stand-out debut single ‘Knock Knock feat. Thandi Phoenix', a modern take on the classic disco genre, plus further announcing her signing to Club Sweat! For the release, Mell Hall teams up with one of Australia's leading dance-pop talents, Thandi Phoenix, creating a total nu-disco and funk anthem that’s bound to get stuck in your head!

Drawing inspiration from the likes of Horse Meat Disco, Dimitri From Paris and Dr. Packer, ‘Knock Knock’ builds suspense with an uplifting piano melody, before exploding into an energetic and vibrant chorus filled with a bumping bassline, horns and quintessential disco guitar chords.

Volume 2 from mash up master AMERIGO highlights the often over- looked accomplishments of MARVIN GAYE's role as the producer. Not only do we get MARVIN and MOS DEF, but also CHUCK BERRY, TALIB KWELI, and THE TEMPTATIONS. 18 tracks. Full picture sleeve, double vinyl.

Deep Groove drop the second of the labels releases from firm favourite Glenn Davis. The Irish producer channels that trademark classic house groove drenched in tantalising synthlines and deep powerful bass via 'Make It Happen' and 'Hold Tight'.

On the B side, Ashley Beedle steps up on remix duties taking the title track in a brilliant boogie direction with choice horns and uplifting vibes for his two North Street West remixes.


DJ Support:

Fish Go Deep, Ashley Beedle, Jimpster, Craig Smith, Getdownedits, Rainer Truby, Lay Far, Southbound

Calgary, AB's Boneless is back again following a pair of releases on Gourmet Beats and most recently Off-Switch Audio, featuring that low slung, classic era yet forward thinking production we all know from the great many appearances his tunes have made out live on dub and on mixes from the sort-of aformentioned Joe Nice, J;Kenzo and a boatload of others.

We are proud to announce the release of "Funky Bump" special 12inch version, containing the unreleased extended version of the most sought after Italian disco funk song produced from the great Italian producer & arranger : Pino Presti.

Remastered limited edition, with special picture cover on BEST RECORD ITALY

Ethan Gold's new double a-side 7'' single from the film The Song Of Sway Lake is a limited edition talisman from a film about characters fixated with the past, and searching for old records in a grand lake house in the Adirondack Park.

The inimitable John Grant sings the haunting, quiet moonlight Lost Record Version, arranged to sound like a small group of musicians in 1939 playing after midnight in a barn. His range as a vocalist brings a pathos and gravity that is timeless, utterly convincing as a 30s performance, filled with emotion and longing.

English sisters trio The Staves sing the brassy daylight Big Band version, arranged as if it were a pop hit of 1947, all brash tight three-part harmonies, reflecting the razzle dazzle arrogance and exhuberance of post-War America. Swing your honey around the dance floor!

Composed & Produced by Ethan Gold. Arrangements by Gina Leishman. Mixed by Flood.

Comes with 10'' booklet and download code. Limited 500. - "Those awaiting", the name chosen by the musicians of Sabreen, still rings true forty years after the foundation of this group in Jerusalem. Voice of the hopes as well as the anger of the Palestinian youth, this group has recorded four self-produced albums. With the weapons of poetry, they will embody the voices of resistance against the occupation but also the desire for emancipation from tradition.Emblematic of this state of mind, their second album Death Of The Prophet was released on cassette at the beginning of the first intifada. It will be the soundtrack, while providing the tuning fork of the future generations. Whether meditative beaches or collective outbursts, joyful outbursts or more serious moments, the band goes through the range of feelings, drawing its inspiration from the sources of classical Arabic music and popular folklore. The result is a unique style, irreducible to any category. All that makes that forty years later, this cult album, never released on vinyl, remains very current. Including booklet with extended liner notes by Jacques Denis and rare photos.

Grey Marbled Vinyl

But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.

Goldene Deluxe Edition zum 10-jährigen Jubiläum des Debütalbums von Princess Chelsea. 180g goldfarbenes Vinyl in einer gestanzten Gatefold-Hülle mit Goldfolienrücken, Songtexten und einem Poster im DIN-A1 Format. Lil' Golden Book ist das Debütalbum der neuseeländischen Künstlerin Princess Chelsea. Es wurde ursprünglich am 2. Mai 2011 über Lil' Chief Records veröffentlicht. Das Album wurde von Jonathan Bree und Chelsea Nikkel produziert und erzählt die Geschichte des Aufwachsens als Teenager und junger Erwachsener in Neuseeland. Nikkel gab an, dass die Produktion des Albums fast drei Jahre dauerte. The Sunday Star Times beschreibt es treffend als "when cute meets creepy". "Princess Chelsea veröffentlicht anno 2011 mit gerade mal 19 Jahren ihr Langspiel-Debüt "Lil' Golden Book". Darauf regiert kurioser Pop. Mit dem Video zu "The Cigarette Duet" landet sie völlig überraschend einen Youtube-Hit. Der Track handelt von den unterschiedlichen Haltungen zweier Partner zum Thema Abhängigkeit. Die eingängigen Melodien, die sie in vielfältige Arrangements bettet, ordnen viele dem Baroque-Pop bei. Vor allem Klavier und die feengleiche, spröde Stimme der Dame dominieren die Songs, die oft zwischen Sadcore und Ambientpop oszillieren. Darin finden immer wieder entrückte Synthieflächen und vereinzelt elektrische Schnipsel Einzug. Zusammen mit orchestralen Parts ergibt dieser schrille Cocktail einen cinematischen Sound, der in drei Jahren Heimarbeit entstanden ist." - LAUT.de

2x12"s of the finest IDM and electronica from Dutch producer EXM. Descent takes you on a mind altering journey over 9 impressive tracks.

It’s been four successful collaborative releases and Mama told ya has grown up so much since this last couple of years.

Faithful to its praise of collaboration, this fifth release will be no exception: Anetha invited the prodigious Alex Wilcox in a 4-tracks emotional roller coaster adventure entitled « It’s okay to cry ». Because yeah, newsflash : it really is.

Best piece of advice from Mama, you should now let it go, open the floodgates, release the pressure. Let yourself be carried through BPMs, Glitched-Ghetto-Techno, satured yet textured, that our powerful duo concocted. It is time to catharsis! The artwork has been commissioned to the extraordinary Risa from Olga Goose Candle. It was an evidence to bring to the table her vintage kooky wax characters whose ultimate poetic fate is to melt. Into tears.

Photographer Anaïs Lallite and designers Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep, as usual. Embark for a jazzy-cowboy-bepopesque-techno ballad in Funky Blender (A1). At first, you’ll feel the sharp blades twirling by your ear: Alex Wilcox chops up what’s left of our sorrow then smooths it up with some soul in it through that « groovgeous » bass saxophone. Featuring Latrice Pink, Alex Wilcox shows some damn good maestria in glitched and vocal effects with RESPOND! (A2). The urge to let it go is relentless. So irrepressible that you let the boisterous uptempo drumming race sweeps you in direction of that point of no return where you’ll have nothing else to do but finally release. And here we are, Paris, Texas (B1), where two universes collide. Both Anetha and Alex Wilcox discharge their heart into two beautiful tunnels of grief intertwining into one bomb aquatic transe track. The drop you’ve been waiting for is here and it’s okay to cry, honey. Alex Wilcox upbeats one last time our journey in a spooky, spine-chilling electronic course in BOO. (B2).

Legendary Brazilian group Orquestra Afro-Brasileira are reborn for first new album in over fifty years, produced by Beastie Boys collaborator Mario Caldato Jr.

Led by maverick composer Abigail Moura, Orquestra Afro-Brasileira were one of the most influential yet overlooked groups in Brazilian music history. Operating for almost thirty years until 1970, they released just two albums - the first of which, Obaluayê, has recently been reissued by Day Dreamer Records - and left behind a legacy of Afro-Brazilian consciousness that continues to resonate today.

Combining Yoruba spirituality, folk tales, Candomblé chants and West African percussion with the instrumentation of the big band jazz tradition in the United States, the Orquestra placed Afro-Brazilian heritage in a new and vital context. Weaving emancipatory narratives into complex poly-rhythms and powerful, syncopated horn lines, the group educated and enlightened all those who saw them perform.

For Abigail’s protégé and percussionist on the group’s 1968 album Carlos Negreiros, the message of the group’s music had a profound impact: “I became aware of what it is to be black,” he says, “discovering the extraordinary potential of the Afro-Brazilian culture in the making of the national ethos.” Now the last remaining member of the original Orquestra, Carlos was tracked down by producer Mario Caldato Jr. - whose credits include Beastie Boys, Marcelo D2 and Seu Jorge among others - to oversee the first new album of Orquestra Afro-Brasileira material since 1968.

“I was overwhelmed with the percussive rhythms, beautiful deep vocals and combined energy,” Caldato Jr. explains. “It felt like the most authentic Brazilian roots music I had ever heard. It was raw and dynamic, a pure organic sound and energy. It was a spiritual experience.”

Alongside arranger Caio Cezar, Carlos assembled his Orquestra to record five tracks at Berna Ceppas’ Estudio Maravilha 8 studio in Rio De Janeiro. With percussion, horns and vocals cut in single takes over three days, the session captured the intuitive, pure and natural spirit of the group in full flow.

Following the success of the initial session, five additional tracks were recorded at the iconic Estudio CIA dos Tecnicos in Copacabana to complete the album. Mixed by Caldato Jr., 80 Anos is a contemporary incarnation of Abigail Moura’s vision, bristling with the flair of the original recordings.

Tartelet has a knack for uncovering virtuosic, off-kilter electronic music. Max Graef—born, bred and still holding it down in Berlin's Prenzlauer Berg—is their latest artist in this mold. Though adventurous dance music is thick on the ground in the German capital, Graef's 2013 run of singles, cropping up on Graef's own Box aus Holz, plus Melbourne Deepcast, The Gym, Heist and Tartelet, continually surprised, infusing worn-in house with manic energy and acrobatic elasticity. Where many of his peers make languid, self-consciously laid-back tunes, Graef makes brilliantly restless ones. Dropping the needle on one of his EPs, you nearly expect it to pop right off again.


Rivers of the Red Planet, Graef's first full-length and Tartelet's latest album project, takes all that wildness and refines, expands, updates and scrambles it. It's as ambitious and deviously entertaining a record as you'll hear in 2014, the fulfillment of Graef's desire to make anything but another contemporary house music album. At any given moment, Rivers of the Red Planet feels like it could have been recorded through the smoke at a jazz club in the booth at a techno club 30 years from now or inside an MPC stocked with crusty dollar-bin samples. (We'd guess the staff at Graef's beloved OYE Records in Berlin will have a difficult time settling on which section to file it in.) If it sounds sampled, it's a testament to Graef's natural musicianship and production prowess —the record is heavy on sounds he played himself, from drums and Rhodes to fat synth melodies wrung out of an old Crumar Performer water-damaged to perfection. For vocals, Graef enlisted Nigerian singer Wayne Snow, whose rugged soulfulness makes him a natural pairing. On cuts like "Drums Of Death" and "Speed Metal Jesus," the club- readiness of his EPs lives on. But Rivers of the Red Planet may be most at home in your living room, with a good bottle of red and a roaring fire's crackles mixing with the pops and hiss of the vinyl—a playful listen that sinks in, burrowing deep and getting you all warm and gooey on the inside.

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

This is a high-octane tribute to jungle, footwork
and bass beats, with a BPM that rarely drops
below 150BPM and studded with names key to all
genres.
 It respects both the birth of the scene, with
inclusions like the late legend DJ Rashad and
former footwork dancer RP Boo, as well as its
current locality, pointing to a trio of uber cool US
producers in New York’s AceMo and Kush Jones,
and Miami-based duo INVT.
 Fellow Londoners Tim Reaper and Worldwide
Epidemic take in the latest of the UK scene, along
with label Time Tunnel who deliver remixes of
tracks from the glory days of rave.
 Driven, proudly black, gay and outspoken,
SHERELLE co-runs the established jungle label
Hooversound, while 2021 saw her launching new
label Beautiful, a platform for supporting black and
LGBTQI+ artists.

The interdisciplinary collective and record label Liber Null proudly presents its newborn vinyl series, kicking off with two releases “ Vol I & II”, taking eight of the best cuts from it’s Seven Years Anniversary compilation, “Delirium”. The releases showcase unique music from a diverse selection of artists and friends, including tracks from Phase Fatale, Alessandro Adriani, An-i + Unhuman, Zanias, Celldöd and SSSS.

Loyal to the concept of Ritual Magick and with a deeply ideological approach towards darkness and chaos in performance art, the two records complete a cutting-edge journey through mutant soundscapes and electronic body-music, made by the finest producers.

Red Vinyl

Linea Aspera return with their second full-length LP, combining analogue production techniques with evocative emotional authenticity that ties themes of inherently human experience to cosmological concepts of physics and astronomy.

The eponymous Sun Cutter debut album, released via Bronzerat Records (Gemma Ray, Jon Spencer Blues Explosion, The Still).

 Sun Cutter (real name Kevin Pearce) hails from Colchester in Essex, England. Three years ago, at the age of 33, Kevin suffered a heart attack (on a golf course). As well as having to redress some lifestyle
habits, his rehabilitation involved writing and recording the Sun Cutter project. It is an album of driving, harmony-drenched indie-soul folk-pop / rock that looks to the light for reflection.

 Songs of love and protest befit the man, and his politics of empathy, evident in his lyrics, are also demonstrated by his day job as a mental health worker. His tone and delivery sometimes reveal John Lennon, Tim Buckley and Bob Dylan as an influence.

 Co-produced with pal Dean Honer (Moonlandingz, Eccentronic Research Council, Pins). Dean is also one half of I Monster, and Kevin lent his voice and guitar to the acoustic version of ‘Daydream In Blue’, which soundtracked the Magnum ice cream ads in 2020.
They have also collaborated and created ‘The Sounds of Science’, a collection of science songs for kids, released in April 2022 on Castles in Space.

 Previously he has released (under his real name) the album ‘Matthew Hopkins & The Wormhole (AWAL)’, a concept record about the Witchfinder General who lived in the same village (Mistley in Essex).

 Kevin Pearce is currently on tour with Turin Brakes

Undersound marks its 20th release with a collection of tracks from Scatterbaux. While the producer has a few sparse releases online, he displays considerable dexterity on these hardware jams. The A-side heavily features the classic 303 synth and opens with “Ghosts On The Wing”, where the artist is experimenting with an 8 bar acid pattern overlayed with dreamy leads and pads. This is followed by “Acid Squabble”, where two 303 lines bounce off each other exchanging their filter positions conveying a range of feelings and emotions. The B-side follows with “Chamber 27”, an electro jam with 808 drums and a driving 101 bassline. The EP closes with the fast paced “Womp Bucket”, with its evolving drum patterns and emotional overtones, completing a showcase of the producer's signature acid tinged style.

Originally hailing from Scotland, now based in Copenhagen, Numbers present 23-year old producer and deejay Perko with his debut release NV Auto.

The six tracks on this EP hear Perko mining the grooves between his favourite genres for building blocks of inspiration. Drawing from UK soundsystem culture and modern experimental music, half of the record explores deeper atmospheric passages and meditative repetition, characterised by layers of subtly shifting chords, field recordings and delicate polyrhythms.

Three dancefloor cuts, spread throughout the rest of the record, retain this detail and interplay with added energy. Perko's sense of rhythm & space is clear with 'Rounded's glacial synths, blown out drum machines and sculpted sub sine waves. 'What Otters' forges playful UKG touches within a paperclip framework of space-echoes and sparks, whilst 'Songbirds' flips into 4/4 drive with percolated alarms and shimmering pads.

'Density, Noise, Dust, Distortion, Space...' says Perko, if you want it simple.

Following the success of the label's Cassiopeia reissue, Mysticisms presents a second EP from Nail with four previously unreleased tracks of gliding deep house, dub techno and Balearic sunrise anthems, highlighting this respected talent.

Recorded between 1993 to 1999, predominately at the DiY collective's Strictly 4 Groovers studio in Nottingham, with the ever reliable Damian "Deadbeats" Stanley engineering. While edits and overdubs were completed at home, some were mixed down to DAT and cassette to became part of Nail and friends after party soundtrack, as much for pure enjoyment as appraisal.

Still a teenager for the early years of these recordings, Nail was honing his craft. Utilizing the ever faithful S1000 sampler, Juno 106, Oberheim Matrix 1000 and Roland SH101, influences from Future Sound Of London, the emerging 'West Coast Sound' rising in the US, Maurizio's dub fusion, through to the bouncing free party sounds emanating out from the Midlands to a now nationwide party scene embed in to machines.

Unreleased until now, the Cassiopeia release ignited an interest in these old cassettes and DATs, bringing them to life and offering further proof of Nail's place as one of the UK's best House producers.

Ghost the Mystery.

Me Da A Onnda by K. Frimpong and his Cubanos Fiesta isclassic and essential Hi-Life & Afro
Funk album from one of the greatest Ghanaian singer and composer, finally reissued for the first time!
This legendary K Fimpong's fantastic rare album was recorded in 1980.
K . Frimpong was born on July 22nd, 1939 at Ofoase in the Ashanti - Akim district and entered right
into music after elementary school by joining "Star de Republic" and later "Oko's band" after which he left
to K. Gyasy's band where he worked for more than 6 years. As a prolific songwriter and singer, here's
the reissue of his amazing album, a modern fusion of Hi- life and Soul.The excellent background is given
by the famous Cubanos Fiesta with members of Vis-A-Vis band.
Originally produced on the major Polydor, this four songs recording is a blend of danceable and
spiritual Soul and straight Hi-Life. A must-have vinyl of percussive Afro Funk for all the music
connoisseurs, K. Frimpong backed by Cubanos Fiesta LP is a true masterpiece, so hard to find and
reaching crazy skills for a decent copy affordable.
Remastered by Frank Merritt at The Carvery. Pressed on Replika format. Fully licensed by the Alhadji
Kwame Frimpong Family

The original Soundtrack to Greek-German director Nikias Chrssos’ new feature, ‘A Pure Place’, scored by John Gürtler (Eigenlicht, COUNTER019), with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton.

The script for A Pure Place had a dizzying effect on John Gürtler & Jan Miserre; their minds reeling with the possibilities.

From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project.

An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late 60s and 70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible.

The minimalist tones of ‘Ritual Bells’ set the dial to weird in the opening sequence of the movie, whilst ‘The Island’ makes use of ambient vocals recorded through an oil drum, gently introducing one of the score’s main themes with a distant quarter-tone cembalo.

Acclaimed British artist Shackleton’s eerie original version of ‘Fust’s Song’ (also included) was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their ‘Paradox Paradise’ production style. The vocals, written by Chryssos, and sung by the cast on set, capture the sonics of the actual crypt-like space where cult leader Fust addresses with his following.

‘A Glimpse of the Other Side’ speaks of love and death in a 70s-indebted composition reflecting John and Jan’s shared love for melancholic and suspenseful chord progressions. Meanwhile, the sparkling synths of ‘Athens’ - the children discovering neon-lit civilisation after years confined on the island - transplant us to an entirely different era.

Greek artist Maroulita del Kol features heavily throughout - her choir of vocals on ‘Erotica’ were recorded late at night in the studio foyer, capturing its unique tiled reflections and concrete reverb.

On ‘Purification’ Maroulita’s voice guides us alongside a Moog bass drone, building to an ecstatic climax, whilst she also features in the film’s disco-centric ending credits on ‘Gatoula Mou Mikri’.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

On Top Records is extremely proud to welcome back Smasher with his sophomore album, ‘Vibes In Motion’. due for release the 16/07/2021

Following the release of his debut album ‘Locked In Locked On' in 2020 which featured in numerous 'Album of the Year' lists Smasher has spent the past year offering a high level of consistency among a time which has been very difficult for creatives.

With live shows stopping to a halt Smasher has taken this opportunity with both hands building a home studio to sustain creativity a very important factor for an individual who has a burning passion to create music, he has used the time productively “Vibes In Motion” is 51 minutes of future classic British UKG encompassing Hip Hop, Grime, RnB, 2 step Garage all blended together seamlessly to bring a fresh approach to a genre he has gone extremely hard for. As with previous material, the album is produced by Smasher himself collaborating with long time friend Aaron Greenwood bringing his soulful smoothed-out keys and backing vocals the pair have a great working relationship which spans over a decade which can be heard through out the record.

Smashers journey began with a love for late 90’s UK Garage collecting vinyls from record shops and dj’ing on pirate radio, which lead him to Hip Hop, RnB, Reggae, Soul and many different uk underground music styles, followed by decades of producing records for some pinnacle uk artists most recent production credit for “Ghetts” on the critically acclaimed ‘Conflict Of Interest’ album charting at number 2 in the uk albums chart, Giggs - Landlord album, Klashnekoff - Iona to name a few, Smasher is a producer who can deliver a very high level of production no matter the genre. Over the past 2 years Smasher has gained props far and wide: from Todd Edwards to DJ EZ releasing a record under his Nuvolve imprint, to guest mix for MBE clothes designer Wale Adeyemi, comedy UKG faves Kurupt fm posting his “lockdown freestyle challenge” Numerous guest shows & live streams for Rinse fm, Kiss fm, Phaze Transition & Mind Charity, limited vinyl run presses to collaborating with Capo Lee & Ayo beats for film soundtrack “Against All Odds”

Since releasing “Locked In Locked On” the feedback for the project was so greatly received i knew how i wanted to approach this next album and with plenty of time on my hands to experiment i wanted to include more collaboration, a lot of the link ups came together organically.

I feel you get a nice balance of some new school artists like Local, Solo Jane & Hotch mixed with some UKG generals like MC Neat, Mighty Moe, Preshus, Creed & Troublesome and original “Knightz of the round table” member Luckie Luciano, i always feel a duty to pay homage but i also want to evolve the sound and take it to the next level.

Since march 2020 its been a tuff time for people i feel like there are some hidden messages in the album it leans towards the underdogs of this world and at times i feel like that but there is always this burning desire inside me to want to do better hopefully that comes across for the listener.

Already with a dedicated fan base and support from tastemaking DJs such as DJ EZ, Conducta (Kiwi Records), Toddla T (Radio 1), Heartless Crew (1xtra), Majestic (Kiss), Scott Garcia (kiss), Smokey Bubblin B (Rinse fm), DJ Redhot (Rinse fm), Dj Cartier, DJ Spoony, Artful Dodger, MattJam Lamont (Rinse fm) Shosh (Kiss Fm) Rudekid (Kiss fm) Ricky Chalrie & Melvin (BBC Radio 1) amongst others from the burgeoning UK Garage scene,

The Smasher sound especially in UKG has brought a well needed fresh flava to a genre which has had very few full album offerings, with that said its time to share “Vibes In Motion” with the universe, This will solidify Smasher as an artist in every sense of the word and undoubtedly concrete him as one of the UK’s finest talents.

Detroit’s own Malik Alston is a man of many talents ranging from singing and producing to djing and performing poetry and has a long list of classic realeases under his belt.
This new EP for Mother Tongue is once again another demonstration of his brilliance!
‘In A Better Way’, the downtempo collaboration with fellow detroiters Jason Hogans and John Arnold, appears here in an extended version on the B side and gets a full house treatment with the help of Dwayne Jensen on the main side to become a relentless gospel house anthem! To complete the EP an exquisite remix of Alston’s ‘Promise Me Love’ by Kemetic Just’s own Just One wich feautures the sublime vocals of Laronn Dolley.

Lailah Reich’s vocal performance is the definition of fineness in execution. Sultry and soulful runs that make your toes curl juxtaposed against pocket production molded around her performance. Lailah’s instrument is subtle yet yearning for the opportunity to illustrate her force in sublime and subtle fashion. It is an honor and privilege to continue the Clairaudience tradition of showcasing the virtuosity of vocal instrumentalists In a nutshell we love what Lailah Reich brings to the mic. Anthony’s discovery of this ingenue remixing her on a project has grown to Lailah being one of his favorite vocalist to record. We Are One is an unconventional and minimalistic approach with haunting chords layered over pocket synth bass creating an abstract and artsy yet groove driven undertone. Certified Sole Therapy from Clairaudience.

DJ Spinna’s imprint Wonderwax returns in 2021 with a brand new installment from Paris-based producer Hugo LX – four new cuts for the club and beyond, showcasing a wide palette of silky textures, smoky synth patches and his signature drum samples. Ranging from house beats to future boogie, detouring through the broken beat path and other high tempo areas, transcenDance is a new step in the beatsmith discography, and a very personal homage to original dance music legacies.

Grey Marbled Vinyl

"Luca Agnelli is back on Etruria Beat with "THERMIONIC EP" after his latest deep and dark "Source Drops” album, while closing 2021 with the long awaited track "FREE ON THE DANCEFLOOR”.

Produced originally in march 2020, during the first pandemic lockdown, and patiently waited for the restrictions to be over, the 4 tracker ep contains " FREE ON THE DANCEFLOOR", a spoken words anthem for clubbers who want to get back to the free world of dark and sweaty dancefloors, unites all together, and that's what this one is all about.

The entire booming EP is a 4 on 4 mix of powerful grooves, arpeggiators, atmospheres and heavy stabs.
Followed by a brilliant hard techno remix by rising star Nico Moreno! "

Launches his own imprint with two eagerly anticipated tracks on a double A-side 12-inch, KLON001.

Following a string of EPs for Unterton under his Mark alias, KLON001 debuted during Klon’s back-to-back DJ set with Nick Höppner for the Ostgut Ton aus der Halle am Berghain stream. His previous releases on A Colourful Storm and Thomas Melchior’s label My King Is Light garnered adherents like Raresh and Ricardo Villalobos, and these new productions drop all pretence of subtlety in favour of aggressively memorable hooks.

Includes artwork insert.

REPRESSED !!

Wolfsheim are a synthpop duo from Hamburg, Germany consisting of Markus Reinhardt (music) and Peter Heppner (lyrics and vocals). The band was founded in 1987 by Markus Reinhardt and Pompejo Ricciardi and was named after Meyer Wolfsheim, a fictional character from F. Scott Fitzgerald's novel 'The Great Gatsby'. Ricciardi soon left the band and was replaced by Peter Heppner, a childhood friend of Reinhardt's. Together they produced their first demo tape, Ken Manage', in 1988.

After making a second demo tape, Any But Pretty', in 1989, Wolfsheim applied at various labels until they caught the attention of independent record label Strange Ways Records. They are best known for their debut breakthrough single, "The Sparrows and the Nightingales', the first single to be released on Strange Ways in 1991. The band's musical style takes cues from the 1980s New Romantics, new wave, synthpop, and darkwave. The track's sombre synths were produced by Carlos Peron of Yello. Reinhardt says the lyric was inspired by 'The Great Gatsby', "in the 'onomatopoeic tension' between predator and security." Over six minutes, the narrator describes being lost, unsure of where his life is heading, using highly metaphorical language. On the flip is a brand new remix by German producer Ancient Methods, a pseudonym of Michael 'Trias' Wollenhaupt, who provides a driving, EBM-leaning, amphetamine-laced club ready cut.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has updated the record's original design with two sparrows enclosed in a blood moon circle against a deep black purple backdrop. Each copy comes with a black and white photo postcard notes by Carlos Peron and the song's lyrics. This release comes in time to celebrate the single's 25th anniversary.

Time fortifies the bonds between us. Since emerging in 2018, Light The Torch have grown stronger in lockstep together as a band and as friends. Through this growth, the Los Angeles, CA trio—Howard Jones vocals, Francesco Artusato [guitar], and Ryan Wombacher [bass]—only enhanced every aspect of their signature sound. Upheld by head-spinning seven-string virtuosity, yet also anchored to skyscraping melodies, the group crafted twelve no-nonsense and no-holds-barred metallic anthems on their 2021 second full-length album, You Will Be The Death of Me [Nuclear Blast].
“The past few years have helped me to become much more personal in my writing,” explains Howard. “Even though I’m kind of a loner, this band became real family. My experiences with Ryan and Fran inside and outside of the band truly bonded us. I think it shows in this album, it truly represents who we are as a group.”

“Every second on this record was thought-out,” adds Fran. “Howard’s performance gives me chills, because it feels so alive. There’s so much emotion in it. I know the guy very well at this point, and our friendship is a big part of Light The Torch.”That friendship cemented over the course of the past three years. The group shot out of the gate as a contender on their full-length debut, Revival. It bowed at #4 on the Billboard US Independent Albums Chart and at #10 on the Hard Rock Albums Chart in addition to receiving acclaim from Revolver, Outburn, and many more. “Calm Before the Storm” racked up a staggering 14.5 million Spotify streams, while “The Safety of Disbelief” remains one of SiriusXM Octane’s all-time most requested songs. They also crisscrossed North America and Europe on tour with the likes of Trivium, Avatar, In Flames, Ice Nine Kills, Killswitch Engage and August Burns Red to name a few.

In late 2019, an idea for the title track “Death of Me” kickstarted the creative process. The guys returned to Sparrow Sound in Glendale, CA to once again work with the production team of Josh Gilbert and Joseph McQueen [Bullet for My Valentine, As I Lay Dying, Suicide Silence].This time around, they also welcomed Whitechapel’s Alex Rudinger on drums. “He’s incredible,” says Fran. “He was exactly what we needed.”Now, they kick down the door for You Will Be The Death of Me with the single “Wilting In The Light.” Howard’s instantly recognizable vocals soar over a sweeping riff and rolling beat before culminating on a massive luminous hook, “Over and over again we struggle. We’re wilting in the light, and we stumble in the dark.”“It has a different vibe and a very interesting riff,” observes Howard. “I love it when listeners can take what they want from a song. This was a special one for us.”

“More Than Dreaming” opens up the record with gut-punching guitar and another knockout hook. Elsewhere, airy keys wrap around chugging distortion on the title track “Death Of Me.” Regarding the latter, the frontman goes on, “Most people have some source of grief in their lives. It’s relatable, and it was appropriate for the song.”After the melodic melancholia of “Come Back To The Quicksand,” Light The Torch recharge the 1987 Terence Trent D’Arby classic “Sign Your Name” as the record’s climax. Shimmering keys bleed into an overpowering verse before it snaps into the immortal chorus beefed up with thick distortion. “Howard stayed at my house with me and my wife for the entire recording of the album,” recalls Fran. “I like to cook, and one night during the first week of pre-production I made everyone dinner. A compilation with ‘Sign Your Name’ started playing, and I thought, ‘I can do a version that would sound awesome!’ Howard knew and loved the song too. For as crazy as it sounded, it worked so well.”
In the end, the bond between Light The Torch burns brighter than ever in the music as they deliver a definitive statement with You Will Be The Death Of Me.

“We wanted to make a fully listenable and fun album that doesn’t let up,” Howard leaves off. “At the same time, we’re showing some heart, passion, and connection. It’s what we’ve always intended to do with this band.”

Following the highly acclaimed Obsolete EP and remixes on RFR records earlier this year, DJ Schwa is returning as WD-40 Trax with his new studio collaborator Jan Pos. The 5 track EP rediscovers the energy of the noughties tribal techno as peaking stormers topped by a dose of proper acid psychedelia contrasting with blazing grooves crafted for easy dancing.
Attention: WD-40 Multi Use Product contains petroleum distillates and should be handled with care.

Mr. Käfer and Phlocalyst are adding their own chapter to the saga with their collaborative album Now / Again to be released via Melting Pot Music. The vibe of the 12 tracks is chill. The kicks, snares and basslines are crisp but relaxed. Wrapped up in warm melodic layers and led by the distinctive sound of Phlocalyst's trumpet. The Flemish producer grew up in Ghent and relocated to Munich where he plays in a classic orchestra - a rather uncommon day-job for a lofi producer with more than 2 million monthly listeners on Spotify. Mr. Käfer was born in Salzburg – the hometown of Wolfgang Amadeus Mozart and Crack Ignaz – to an Austrian mother and an Algerian father. Today he lives in Cologne. In his music he fuses influences from boom-bap to jazz to traditional North-African music. The album artwork was created by Cologne-based artist Giza One.

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of the Ethiopians began his singing career at Clement 'Coxonne' Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting 'Ice Water' and 'Suffering In The Land'. Under The Wailers encouragement, he went on to form his
own vocal group. Recruiting singers Stephan Taylor (b.1944, Portland, Jamaica) and Aston 'Charlie' Morris to become The Ethiopians. They cut 'Live Good', 'Why You Gonna Leave Me Now' and 'Owe Me No Pay Me'. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut 'I'm A Free
Man' and 'Don Dead Already' and 'For You'. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica, ashad he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal 'Train To Skaville' track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut 'Engine 54', which became the title of their debut album. Its
follow up 'I Need You / Do It Sweet', did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut 'The Whip / Cool It Amigo' which revived their fortunes and proved another big hit for the band. Two more hits followed 'Stay Loose Mama' and 'The World Goes Ska', after which the band decided to return to a trio, adding
Melvin 'Mellow' Reid to the line up. The band now hit another run of successes with producer JJ Johnson 'Everything Crash, 'Gun Man', 'Hong Kong Flu' and 'The Selah'. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as 'I Want To Be a Better Man, ' Conquering Lion', 'Fire A Mus Mus' Tail', and the timeless 'Reggae Hit The Town' to name a few. Two albums 'Reggae Power' (1969) and 'Woman Capture Man' (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The
Observer and cut the Rasta based album 'Slave Call'. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.
For this release we have included the full 'Slave Call' set, 'Ethiopian National Anthem', 'Slave Call', 'Guilty Conscience', 'Hurry On', 'Mus Follow Babylon'(on CD Edition), 'Train To Skaville (1977 version, on CD Edition), 'Culture', 'Obeah Book', 'Let It Be' and 'I Love Jah'. Alongside some of the bands early hits including the original version of 'Train To Skaville', 'Engine 54', the great and poignant 'Everything Crash', 'Reggae Hit The Town' and 'The Selah'. An interesting set to remind us what a great group the Ethiopians really were.

Marrrtin, French DJ, producer, and half of the group FUNKY BIJOU presents A Bunch of Funk, a selection of 16 short but sharp tracks building on the artistic heritage of 70s Library music. Album created with several musicians from different countries, working together without ever seeing each other in a studio thanks to Marrrtin's unique production process.
Uptempo, Rhythmic, Brassy, Percussive, Lively and Dancing Vocal, Thematic Dramatic, Activ, Perky, Agressive, Riffy and Groovy: these are the words who can define this album.
Features apprences of: Medline, Felix from FUSIK (USA), Carla Vallet,
Tchoubine Collin (Setenta, FR), Romain Baousson (Bikini achine Drummer), Naufalle from AIWA (France / Irak), Deheb , Meriadeg (Stand High Patrol) and others...
All the Tracks have been played for the RED BULL BC ONE world final in Roma where Marrrtin was mixing.

It is in Albertine’s own words, “a triumphant refusal to be complicit in a system that ruins us.”

The universality of music can mean different things to different people. For Albertine Sarges – Berlin-based musician and producer – it’s a vessel that she uses for self-exploration and growth, never more so than on her new album The Sticky Fingers, out on Moshi Moshi Records on 27th November.

After numerous collaborative projects, including projects with Colin Self and Holly Herndon, and performing as part of Italian synth-wave duo Itaca, Albertine brings together a new band, the titular Sticky Fingers for their debut LP. The Sticky Fingers has its roots in the south of the German capital – Albertine grew up in Kreuzberg during the fall of the Berlin Wall and records in nearby Neukölln

The next killer tune in the brand-new series of alltime classic Studio One party bombs available on super loud 12” - Brentford Road All Stars’ 'Greedy
G’ is the ultimate reggae record to crossover into
hip-hop. The all-time epic sample for Boogie Down
Productions’ seminal ‘Jack of Spades’ and based
on James Brown’s funk bomb ‘Get on the Good
Foot’.
The flipside is another Brentford Road All Stars
essential cut, ‘Granny Scratch Scratch’, the
heaviest, funkiest dub monster ever.
100% essential monster tunes that rock any
dancefloor.

Biga Ranx is a major artist of the international Dub Scene, he has been acclaimed by the biggest Jamaican MC's over the years for his unique flow and style. From the age of 14, Biga has been working on his lyrics, his compositions, etc.. After 5 albums and 1000 gigs over the world, Biga Ranx his still evolving and his mixing Dub, Electronic, Lo-Fi and Hip Hop sounds.

Night Bird is his 3rd album released in 2015

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

Initially released digitally at the end of 2020, Olamide celebrates the one year anniversary of the hit album, Carpe Diem, with it's first physical release. Although his eleventh studio album, Carpe Diem marks the first body of work under American label and distribution company, EMPIRE. With bubbly and melodical production from Young John, Pheelz, ID Cabasa, P.Prime, and VStix, the album features Fireboy DML, Bad Boy Timz, Omah Lay, Phyno, Peruzzi and Bella Shmurda. In tune with the title, this marks the start of Olamide's global takeover.

An hour of finely crafted grooves where cosmic atmospheres meet late night bangers !

While on a break due to a certain pandemic, L’Eclair threw itself in the making of a new album. Until that point recording sessions were usually really short. Former albums were made in only a few days and recorded mostly live on tape. That changed as the band decided to do four recording sessions over nine months, hence allowing the group and its sound engineer/manager Benoit Erard to spend more time and energy on the production. With the ability to step back and reflect on the work in progress, L’Eclair had the occasion to take things a step above in terms of arrangements, compositions and structures. The result is an hour-long 12 tracks record, which is more diversified and concise than previous efforts.

Titled “Confusions”, the album shows L’Eclair’s obsession with groove in all its forms. It blends club vibes with psychedelic grooves, rhythmic trances and ambient comedowns while retaining a true coherence. Produced and organic, danceable and ethereal, spontaneous and cerebral, joyful and melancholic, “Confusions” is always on the fence between very different moods without ever wandering off. The band’s never fading influences are still there: you can hear hints of CAN, Piero Umiliani or Tangerine Dream here and there. But it’s melted with different universes, such as late 80s Madchester or Aphex Twin and Boards Of Canada’s textured worlds. There is also a strong Hip Hop feel with sampled-based tracks and non-binary beats that recall the likes of great producers like Madlib, MF DOOM, J Dilla or even Timbaland. The record also has its fair share of dub and house influences, which connect with the group’s attachment to the club vibe.

The Berliners present an unusual live album that is a testimony of strange times: their Phanerozoic concept album performed live in its entirety at a time when no shows were happening anywhere in the world. 3 LPs / 2 CDs plus DVD and access to HD video download and streaming. Phanerozoic I was streamed live from Pier 2, a big hall in the port of Bremen, on March 25, 2021. Phanerozoic II, recorded at "Die Mühle" studio, aired on April 16, 2021 as part of the digital edition of Roadburn Festival, this year abtly named Roadburn Redux. Both shows couldn't have been more different: where the first part boasts with a pompous, mesmerizing lighting production on a big stage, the 2nd part is quite the opposite: intimate, almost cosy, focused on musicianship rather than performance. A stripped down setup in a dark barn, with moody, minimal but not any less efficient lighting. "We wanted to give people 2 totally different experiences", says band leader Robin Staps. "In Bremen, we had the chance to record a proper Ocean live show, the way people know us. We played facing towards the front of the stage, to an invisible crowd, essentially to a huge empty room_ but we knew people were watching, even if we didn't see them. There was the same rush of adrenaline right before going on stage as you get before going on at any big open air festival_ maybe with a little extra anxiety added, because knowing that so many people are watching you without being able to see them yourself was super weird." This release is yet another master class of record packaging from Norwegian artist and long term friend and collaborator, Martin Kvamme: the trifold is made from thick, rough and incredibly fibrous cardboard, adorned with a filigrane copper foil embossing of a bitmapped live fotography from the Bremen event. It contains 3 vinyl records in printed inner sleeves or 2 CDs, plus a DVD and a concert ticket with a streaming and HD video download link to both concerts.

The hotly anticipated vinyl EP release of Hikaru Utada’s “One Last Kiss” - the title track is the featured theme of the new film 'EVANGELION:3.0+1.0 THRICE UPON A TIME (SHIN EVANGELION)'. In Japan the film has been the highest grossing movie of the year and 35th highest grossing movie of all time. The movie has now been released worldwide on Amazon Prime. The SHIN EVANGELION franchise has been described as a “pop culture phenomenon” and a “grand masterpiece”. Hikaru Utada is a Japanese American singer/songwriter/producer and one of the most successful and celebrated artists in Japanese music history.

• The “Fickle Heart” LP was a real team effort. Initially, demos were brought to Chiswick Records by drummer/producer Lou Salvoni. Though more associated with the bar band and punk end of music, Chiswick was much more musically diverse. There is a drive in the lead track ‘Driver’s Seat’ which was the signature sound of what was a tougher record than much of the similar music around it. Engineer Barry Farmer was brought in from Pathway Studios, where he had been at the controls for some earlier Chiswick releases as well as those on Stiff. This was older school than the new upstarts and the band was made up of some of the top musicians around London at the time. Much of it was recorded at Regents Park Studio, where Steve Lipson joined the production team.

• ‘Driver’s Seat’ first came out in the UK in October 1978, as well as in Spain, Holland and Germany, where it charted. But it was the July 1979 US release through Atlantic when it really took off, with a Top 20 chart position. The album came out in November of that year.

• Though ‘Driver’s Seat’ is the featured track, it is far from being a one-track album, with confident arrangements and musicianship throughout and production that all adds up to an enduring record of great songs. Though set in its period, it transcends it, still sounding fresh today, some 43 years after its release.

• The album hasn’t been available on vinyl since 1995; remastered from the original tapes, it sounds better than ever.

For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

Composer, electronic music innovator, and Pere Ubu's original synthesist Allen Ravenstine returns to Waveshaper Media with the diptych LP (comprised of 1 EP per side) Nautilus / Rue De Poisson Noir, the final two parts in Raventine’s Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.

Nautilus / Rue De Poisson Noir brings together 21 of the prodigious composer’s recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, alongside traditional acoustic instruments. The first 10 recordings, subtitled Nautilus, are found on Side A of this LP while the second 11, Rue Du Poisson Noir, comprise Side B.

Using a singular blend of acoustic and electronic instrumentation, each track on Nautilus, weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion both in palette and approach, slithering between cinematic intrigue, off-brand jazz, avant-garde mischief, and fried electro without ever batting an eye. Together they form a beguiling collection of hyperrealist miniatures that remains strange, restless, inquisitive and — most of all — evocative throughout.

For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings.

By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Nautilus / Rue De Poisson Noir now marking his 4th solo full-length.

The Italian singer Chiara Civello and the French producer Marc Collin are back together for a second time. After Eclipse, they present « Chansons: Chiara Civello Sings International French Standards ».


A tracklisting of 12 classic songs dating from 1945 to 1975 all by French song writers.

From Michel Legrand to Charles Aznavour, Charles Trénet, Édith Piaf, Jacques Brel or Gilbert Bécaud and Francis Lai. Household names for French music lovers, but not necessarily so for international audiences.

London alt-rock outfit Curse of Lono share brand new single ‘Let Your Love Rain Down On Me’, a hypnotic widescreen teaser for upcoming album ‘People In Cars’, set for release 19th November via Submarine Cat Records (She Drew The Gun, Alabama 3, John Murry).

Recorded during lockdown with long-term collaborator and producer Oli Bayston (Spiritualized, Teleman, Boxed In) and engineer Iain Berryman (Wolf Alice, Arcade Fire, Kings Of Leon), ‘People In Cars’ is a stunningly cinematic record that continues the band’s musical evolution and reinforces their trajectory as one of the most compelling lyrical voices of the British musical underground.

Maddie Jay has always had a fixation with taking things apart, examining every tiny piece, and putting them back together in her own way. In fact, in her teens, she tore out all the electronics of her first bass guitar in her parent’s garage, in order to re-paint it neon yellow, green and pink. This fascination with restructuring didn’t end with gear. For years, she has been taking apart music itself, and studying every facet of songwriting, melody and production, in order to patch it back together into her own colorful, quirky package.

This approach in life has brought her from her tiny hometown in northern British Columbia, Canada, to studying bass in Boston, and then to Los Angeles to pursue a career as a “hired gun.” After a year of travelling and supporting artists all around the globe, she was finding more satisfaction on her days off, producing on her laptop. Fast forward to 2020, and Maddie’s first EP “Mood Swings” has gained over 2 million streams on Spotify, and she has a feature on Grammy winning artist RAC’s LP “BOY.”

RSN, producer, DJ and musician from Athens - Greece, delivers his 5th album named “Motion” and his 2nd LP for Agogo Records.

In this 9 track - album (2 instrumental songs and 7 with vocals) RSN shows all of his music influences. From Hip Hop to Electronica and from blues to trip hop.

Thaliah - Mc Yinka - Lefteris Samson - Irene and JB Nimble all feature on the record

The cover is designed by Till Noon

The AA Sessions began in the summer of 2019 as a loose assortment of musical friends collaborating on one-off improvised recordings at the Agricultural Audio studios in rural Sussex, under the direction of producer Ben Hampson. It quickly grew into what it is now: a never-ending, and constantly expanding collaboration project.

The premise is simple: to release a new single every month, forever. And each single must feature a different combination of artists. Every song is written and recorded from zero, in only one day, with no going back. Like Josh Homme’s Desert Sessions, or Broken Social Scene, except the AA Sessions features more people and has much tougher deadlines to meet. Then in every December, all 12 songs from the year are released on a limited edition vinyl album.

Underground coldwave duo The KVB are back
with their most potent and immediate record yet.
Produced and mixed by Andy Savours (Black
Country New Road, My Bloody Valentine, The
Horrors), ‘Unity’ represents an exciting
development in the band’s sonic journey.
 Across the album’s ten songs, The KVB
masterfully pull together their trademark
components; radiant guitars, textural synths and
an ear for a moody, brooding melody all presented
here with a renewed dynamism.
 Throughout the album, lyrical themes combine
double meanings and a sleight of hand is present;
Le Corbousier’s brutalist ‘Unité d’habitation’
informs the title track and via the French-to-English
translation ‘Unité’ becomes ‘Unity’ - a rallying cry to
totality on the dancefloor. ‘Unbound’ is informed by
the classic shoegaze stylings of Slowdive and Ride
but also late-modern poet Keston Sutherland and
the idea of recreating a special moment lost to the
past.
 Black vinyl, housed in a deluxe spined sleeve with
the vinyl itself housed in a double sided printed
inner sleeve. Comes with digital download card
included

‘Gather Up’ is the culmination of ten years on Acid Jazz for Matt Berry.
 ‘Gather Up’ comes as a beautifully packaged 4CD hardback book set with 28 pages of
illustrations and notes or a 5LP box set with a 64-page booklet and certificate of
authenticity signed by Matt.
 ‘Gather Up’ is also available as a standalone 21-track ‘Best Of’ on gatefold CD and red
coloured vinyl double LP.
 The 55 tracks on the 4CD / 5LP sets are split between an anthology compilation that
tracks the very best tracks from his eight albums and associated singles for the label over
the last decade, an album of unreleased tracks and rarities, a demo version of his 2020
album ‘Phantom Birds’ (titled ‘Phantom First’) and the previously unreleased ‘Live At A
Festival’ album, which showcases Matt and his band The Maypoles in full flight.
 The book included in both formats has an extended essay by Chris Catchpole which
reviews Matt’s musical career and an exclusive set of photo images culled from the
archive of Matt’s long time photographic collaborator Ben Meadows.
 Following the huge acclaim earlier this year for Matt Berry’s eighth studio album, ‘The
Blue Elephant’, Acid Jazz release ‘Gather Up’, a compilation album encompassing the
singular musical adventures this extraordinary musician has taken over the past decade,
offering a revelatory and fascinating insight into the working process of a genuine musical
maverick and sonic explorer.
 Over 10 years with Acid Jazz, Berry has released nine incredibly diverse albums
(including one live album). From the tangled-folk rock thickets of ‘Witchazel’ and ‘Kill The
Wolf’ (which features the song from which this release gets its name), to the out-there
explorations of ‘Music For Insomniacs’ or ‘TV Themes’’ retro-kitsch delights, through the
soul power in ‘Matt Berry & The Maypoles Live’ or the twilight grooves of ‘The Small
Hours’ to the classic pedal-steel songwriting of ‘Phantom Birds’ and the smorgasbord of
psychedelic sounds on ‘The Blue Elephant’, Berry’s journey has produced a feast for the
ears that twists and turns down more unexpected avenues than most artists could
manage over several careers.
 ‘Gather Up’ pulls together an excellent career spanning collection expertly compiled by
Berry, including non-album tracks such as ‘Snuff Box Theme’. No easy achievement
considering the sheer breadth, diversity and volume of his exceptional musical output.
















[p] 16 Music for insomniacs [Part 4]

‘Gather Up’ is the culmination of ten years on Acid Jazz for Matt Berry.
 ‘Gather Up’ comes as a beautifully packaged 4CD hardback book set with 28 pages of
illustrations and notes or a 5LP box set with a 64-page booklet and certificate of
authenticity signed by Matt.
 ‘Gather Up’ is also available as a standalone 21-track ‘Best Of’ on gatefold CD and red
coloured vinyl double LP.
 The 55 tracks on the 4CD / 5LP sets are split between an anthology compilation that
tracks the very best tracks from his eight albums and associated singles for the label over
the last decade, an album of unreleased tracks and rarities, a demo version of his 2020
album ‘Phantom Birds’ (titled ‘Phantom First’) and the previously unreleased ‘Live At A
Festival’ album, which showcases Matt and his band The Maypoles in full flight.
 The book included in both formats has an extended essay by Chris Catchpole which
reviews Matt’s musical career and an exclusive set of photo images culled from the
archive of Matt’s long time photographic collaborator Ben Meadows.
 Following the huge acclaim earlier this year for Matt Berry’s eighth studio album, ‘The
Blue Elephant’, Acid Jazz release ‘Gather Up’, a compilation album encompassing the
singular musical adventures this extraordinary musician has taken over the past decade,
offering a revelatory and fascinating insight into the working process of a genuine musical
maverick and sonic explorer.
 Over 10 years with Acid Jazz, Berry has released nine incredibly diverse albums
(including one live album). From the tangled-folk rock thickets of ‘Witchazel’ and ‘Kill The
Wolf’ (which features the song from which this release gets its name), to the out-there
explorations of ‘Music For Insomniacs’ or ‘TV Themes’’ retro-kitsch delights, through the
soul power in ‘Matt Berry & The Maypoles Live’ or the twilight grooves of ‘The Small
Hours’ to the classic pedal-steel songwriting of ‘Phantom Birds’ and the smorgasbord of
psychedelic sounds on ‘The Blue Elephant’, Berry’s journey has produced a feast for the
ears that twists and turns down more unexpected avenues than most artists could
manage over several careers.
 ‘Gather Up’ pulls together an excellent career spanning collection expertly compiled by
Berry, including non-album tracks such as ‘Snuff Box Theme’. No easy achievement
considering the sheer breadth, diversity and volume of his exceptional musical output.
















p 16 Music for insomniacs [Part 4]