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"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

RUSSELL HASWELL is an artist, record producer, free improvisor, computer musician, noise aficionado and curator.
Trained at Coventry School of Art, graduating in 1992, Russell’s extraordinary conceptual oeuvre resists easy summarisation, focused on the site-specific, performance and methodology of large-scale sound works, sometimes in surround sound. Russell has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls, clubs, rock venues, and even squats in 30 countries, and counting. Most recently he has performed at SONIC ACTS, SONAR, Pirelli Hangar Bicocca and Coventry Cathedral.

As a curator, Russell has delivered projects for PS1/MoMa, All Tomorrows Parties, Aldeburgh Music, Thyssen-Bornemisza Art Contemporary, and Cafe Oto. He now lives and works in Glasgow.

Recorded in real-time (ADDAC System, ALM/Busy Circuits, Cwejman, Epoch Modular, FANCYYYYY Synthesis, Flight of Harmony, Instruo...)

Raúl Monsalve y Los Forajidos welcome listeners to a new day with SOL, their groundbreaking second album for Olindo Records. Venezuelan rhythms and traditional songs blend with spiritual jazz, psychedelic funk, and Afrobeat, delivering an exhilarating, boundary-pushing experience.
Led by Venezuelan bassist Raúl Monsalve, the group gained international acclaim with Bichos (2020), praised for its Afrobeat influences from legends like Fela Kuti and Orlando Julius, alongside Afro-Venezuelan rhythms. Featuring Luzmira Zerpa (Family Atlantica) and Betsayda Machado, the album earned praise from The Wire, Songlines, Gilles Peterson, and others, with airplay on BBC 6 Music, NTS, and Worldwide FM. This success brought performances at Super Sonic Jazz Festival and Shambala Festival.
SOL marks a leap forward for Los Forajidos, evolving from a studio project into a cohesive ensemble. Monsalve, now contributing bass, vocals, and percussion, is joined by vocalist Lya Bonilla, keyboardist Edgar Bonilla, flautist/guitarist Nando Guerrero, saxophonist Andrés Vela, drummer Mario Orsinet, and percussionist Yves Prud’homme.
The album features contributions from producer Nick Woodmansey (Emanative), singer Carlos Talez, mixing by Malcolm Catto (The Heliocentrics), percussionist Gustavo Ovalles, and Congolese guitarist Kiala Nzavotunga.
Drawing from Venezuelan traditions while embracing modern influences like George Clinton, Herbie Hancock’s Mwandishi, Jeff Parker, and Nyege Nyege Tapes, SOL bridges cultural heritage and forward-thinking artistry.

"For nearly four decades, Alison Krauss & Union Station have upheld their legacy as one of the most influential and widely celebrated acts in bluegrass and roots music. Krauss is a 27-time Grammy winner and was inducted into the Bluegrass Music Hall of Fame in 2021. Known for an immaculately crafted but endlessly surprising sound that transcends the boundaries of roots, country, rock & roll, and pop, Alison Krauss & Union Station are making their long-awaited return with Arcadia – their first LP since the 2011 masterpiece Paper Airplane—a critically lauded, multiple Grammy Award winning LP that debuted at #1 on the Billboard Country, Bluegrass, and Folk Album charts. This spring, they will embark on a 73-date tour of North America, their first since 2015.

Arcadia was produced by Alison Krauss & Union Station with additional production by 10-time Grammy winning producer Gary Paczosa, who has worked extensively with the band. The players – Alison Krauss (fiddle, lead vocal), Jerry Douglas (Dobro, lap steel, vocals), Ron Block (banjo, guitar, vocals), Barry Bales (bass, vocals), and welcoming highly acclaimed and celebrated tenor vocalist Russell Moore (guitar, mandolin, lead vocal) as the newest member – are five distinct personalities, each of whom also enjoys a flourishing solo career. But when they come together, they transform into a peerless group of musicians who share a singular focus."

A once shocking 1962 LP of love songs…by men, for men. A long lost treasure featuring the cool & sophisticated vocals of Gene Howard and a cast of prime studio jazz musicians, performing a set of standards sung to a male suitor. Ahead of its time in every way. Decades ago, JD Doyle, renowned LGBT music historian and archivist, happened upon a copy of Love Is A Drag. Doyle would often play cuts from it on his radio show, Queer Music Heritage. He remained intrigued by the lack of either artist or producer credited on the album. A vague line of jacket text ambiguously announced, “For Adult Listeners Only - Sultry Stylings by a Most Unusual Vocalist.” And, the facts behind the album would have most likely remained unclear if it were not for one Murray Garrett Out of the blue, Murray Garrett contacted JD Doyle and wanted to talk about the album. According to Garrett, through his photography career, he had forged a friendship and partnership with prolific big band vocalist, Gene Howard. The two worked together on projects, eventually teaming with Jack Ames, founder of Edison International Records. When queried for ideas for a potential Edison International release, Garrett recalled a performance he had once seen in Greenwich Village - a performance of a man singing love songs to another man, in serious fashion, i.e., not at all campy or overly-dramatic. Gene Howard (straight and happily married!) agreed to sing on the record, accompanied by a who’s-who of Los Angeles A-list session men. Upon release, the record sold well in Hollywood, with Frank Sinatra, Liberace, and Bob Hope among its biggest advocates.

1-800 FANTASY is the third studio album from producer, artist, and visionary, BLK ODYSSY. In what represents somewhat of a sonic shift for BLK ODYSSY - from the dark, brooding blend of R&B & G-Funk to a brighter, warmer and more upbeat Alternative leaning sound - the concept album tells a coming of age story of a teenage boy in the 90s navigating the unfamiliarities of love and lust. The 13-track album includes the previously released singles, “WANT YOU,” “XXX (feat. Wiz Khalifa),” “STANK ROSE (feat. Joey Bada$$),” & “CHANGES” - as well the song, “PHASE,” which was premiered via COLORS. This latest project marks a pivotal moment in BLK’s career, cementing his role as a forward-thinking artist who continues to push the boundaries of R&B and beyond. “Between exploring a new level of storytelling and also a new world of production and songwriting, this record has been a new chapter for me as an artist.” BLK ODYSSY says about the new album. Pressed on Baby Blue Galaxy vinyl, includes double sided insert.

London-based DJ and producer Steven Julien returns to his Apron Records imprint with a double A-side 12" , bringing together the new gospel and R&B-influenced EP TIME and previously digital-only EP Wraap't.

Bridging sonic worlds together, from the soulful anthem TIME and the glossy rap hit ULTRA ft. James Massiah to the old-school house sound of UP and Julien's driving club remix of Wraap't ft. Fatima. Rounding off the EP with the instrumental BALLAD, a dreamy jazz-inspired excursion, further highlights the unique contrast of Steven Juliens' work.

Available in two vinyl colours, limited Red and a classic black vinyl printed with the TIME EP artwork on the cover and Wraap't EP artwork on the inner sleeves. Two EPs, one record.

We’re thrilled to present this new 12inch single release, pursuing our digging into gems previously compiled in some of our various reissue compilations series.. On this occasion, it seemed only natural to highlight two exceptional tracks with numerous points in common.

"Hangin’ On to You" by Jonathan Jr. and "Flyin’ To Santa Barbara" by Special Occasion both hail from Belgium, produced in the mid-80s under the direction of Tony Baron, a producer and artist deeply involved in several New Beat projects and closely tied to the Nunk Records label. Both tracks also appeared in the 4th edition of our AOR Global Sounds compilation series, now sold out.

But beyond mere coincidence, these two tracks are perfect examples of the fusion between Disco rhythms and sound, with the smooth, colorful vibe of AOR productions from that era. Presented here in their 12-inch single versions, these gems are bound to delight DJs and music lovers alike.

We hope you’ll enjoy!

Your Favorite!

“Salsa con charanga” is really a feast for all salsa music lovers, a true jewel, which deserved much better when it originally came out in 1978. It comprises eight great, solid tracks; some, new interpretations from other albums in which Mike Guagenti participated with his handsome and captivating voice - a crooner with a salsero soul -, that, at times, could remind us of the late Tito Rodríguez, and even Ray Ramos.

It In addition to being a great salsa album, has the distinction that was released on Orfeon, a Mexican record label, due to the diligent work of the extraordinary producer Bobby Marin, and which miraculously received air play when powerhouse Fania label and few others ruled radio in the salsa music world. It comprises eight great, solid tracks; some, new interpretations from other albums in which Mike Guagenti participated with his handsome and captivating voice - a crooner with a salsero soul -, that, at times, could remind us of the late Tito Rodríguez, and even Ray Ramos. "The Mike Guagenti album," as indicated by Marin, "is a compilation of recordings by other artists. Originally a salsa album, I brought in Cuban Pupi Legarreta (violin and flute) and Panamanian Mauricio Smith (flute) to give it a charanga sound." With the exception of the cut ‘Salsa con charanga,’ which is an instrumental, the rest feature vocals by Guagenti. “Salsa con charanga” has developed a cult following, and finding a copy of the original could be quite expensive. Luckily, this officially licensed and restored edition will fill that void.

After a health-induced hiatus, Popa Chubby, the legendary blues-rock guitarist, roars back with "I Love Freddie King," a heartfelt tribute album to the late great Texas Cannonball himself. Produced by Popa Chubby and Gulf Coast Records' executive producer Mike Zito, this 11-track masterpiece was recorded at G.B.'s Juke Joint and features contributions from an all-star roster of modern guitar heroes: Joe Bonamassa, Mike Zito, Christone "Kingfish" Ingram, Eric Gales, Albert Castiglia, Arthur Neilson, and V.D. King. Reflecting on the album, Popa Chubby calls Freddie King his lifelong muse, whose music "changed my soul forever." The album brings King's legacy roaring back to life, spanning his early instrumental hits, Shelter Records era, and more. With a core band of Mike Merritt (bass), Andrei Koribanics III (drums), and Mike DiMeo (keyboards), this record captures the sweat, soul, and unrelenting energy of Freddie King. Tracks like "I'm Going Down" (ft. Joe Bonamassa) and "Big Legged Woman" (ft. Christone 'Kingfish' Ingram) explode with fiery guitar work and passionate vocals. Other standouts include "She's A Burglar" (ft. Mike Zito) and "Hideaway" (ft. Arthur Neilson). Each collaboration brings something special to the table, making this album a must-listen for blues fans and guitar lovers alike. Despite battling a rare spinal disorder during production, Popa Chubby pressed on to create what he calls "a journey of love and homage." His raw determination, combined with the extraordinary talent of his guest musicians, resulted in a fitting tribute to Freddie King--the bridge between blues and rock, who forever altered the genre's course. The Texas Cannonball's legacy brought to life, grab your copy of "I Love Freddie King" today and let the blues thunder on!

A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".

The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.

On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.

A crisp, spellbinding intro sets the mood for the first song on 'Maintenant Jamais', Population II's third album. With the guidance of producer Dominic Vanchesteing (Marie Davidson, Chocolat, Peter Peter), the turbulence of the band’s previous releases is structured and refined. The result is a sophisticated rock album that surprises with its languorous grooves, as heard on "Le thé est prêt", while staying true to the raw power for which the band is renowned, as demonstrated on vigorous tracks such as "La Trippance" and "Rédemption naturelle".

The album follows with "Prévisions", a song that ripples with finesse before abruptly transitioning into the instrumental number "Macavélique rock". While "Haut-fond" and "Cardinaux" are true feats of elegant prog rock, "Mariano (Jamais je ne t'oublierai)" and "homme étoilé" prove that Population II is also endowed with a profound melodic sensibility capable of creating catchy and explosive hooks.

On this new album, the trio fine-tunes the distinctive style they’ve been developing for several years, thanks in part to a fusion of shared influences – from Soft Machine to MC5 to L'Infonie – but also to a rare complicity that can only blossom between such close friends. This creative chemistry is what makes the band's complex songwriting seem so fluid and supple. Population II breaks through their previous sonic frontiers while remaining true to their roots. Therein lies the achievement of 'Maintenant Jamais'.

Over the course of a decade, Wata Igarashi has risen as one of techno's most accomplished DJs and producers. His highly aesthetic trademark sound is as heavily psychedelic as it's driven by its stern kinetic energy. It's often overlooked that Igarashi is much more than a torch bearer of the raw hypnotic techno he became known for. He's also a very accomplished and versatile musician with a deep understanding of the cause and effect of sound design. His skills are fully on display on 2023's full length "Agartha", a film score to a fictitious movie about the mythical underworld of planet Mars. It was a rather obvious idea to cross the bridge between this epic deep listening album and Wata Igarashi's techno persona by having him remix himself. As you might expect, the "Agartha Sorcery Acid Mix" has turned out to be a masterclass in psychedelic designer techno. It's slightly slower in BPM as the usual Igarashi fare but every bit as captivating. The "Floating Against Time Shimmering Mix" shows another intriguing facet of Wata's spectrum. Let's call it: Psychedelic Deep House. KOMPAKT's very own Michael Mayer couldn't resist to turn the Godzilla soundtrack-ish "Ceremony Of The Dead" into a positively hysterical minimal disco operette. And then there's the "Fusion Mix of Abyss x Darkness" by Philipp Stoffel, a fresh Cologne DJ producer whose AKTE club nights just spawned a label by the same name. He's definitely one to keep an eye on in 2025.
Im Laufe eines Jahrzehnts hat sich Wata Igarashi zu einem der versiertesten DJs und Produzenten im Bereich Techno entwickelt. Sein hochästhetischer, unverwechselbarer Sound ist ebenso stark psychedelisch entrückt wie von einer strengen kinetischen Energie angetrieben. Oft wird übersehen, dass Igarashi viel mehr ist als nur ein Fackelträger des rohen, hypnotischen Techno, für den er bekannt wurde. Er ist auch ein sehr versierter und vielseitiger Musiker mit einem tiefen Verständnis für Ursache und Wirkung von Sounddesign. Seine Fähigkeiten kommen auf dem Longplayer „Agartha“ von 2023 voll zum Ausdruck, einer Filmmusik zu einem fiktiven Film über die mythische Unterwelt des Planeten Mars. Es lag nahe, die Brücke zwischen diesem epischen Deep-Listening-Album und Wata Igarashis Techno-Persönlichkeit zu schlagen, indem man ihn sich selbst remixen ließ. Wie zu erwarten war, ist der „Agartha Sorcery Acid Mix“ eine Masterclass des psychedelischen Designer-Techno. Mit einer etwas geringeren BPM-Zahl als bei Igarashis üblicher Musik, aber genauso fesselnd. Der „Floating Against Time Shimmering Mix“ zeigt eine weitere faszinierende Facette von Watas Spektrum. Nennen wir es: Psychedelic Deep House. KOMPAKTs Michael Mayer konnte nicht widerstehen, den Godzilla-Soundtrack-ähnlichen Song „Ceremony Of The Dead“ in eine geradezu hysterische Minimal-Disco-Operette zu verwandeln. Und dann gibt es noch den „Fusion Mix of Abyss x Darkness“ von Philipp Stoffel, einem jungen Kölner DJ-Produzenten, aus dessen AKTE-Clubnächten gerade ein Label mit dem gleichen Namen hervorgegangen ist. Er ist definitiv einer, den man 2025 im Auge behalten sollte.

We're delighted to welcome these two Australia based producers to the Samurai family with Onyx - a 4 track EP that delivers a blend of tight edits, chest heavy bass, and intricate sound design. Pugilist & Tamen combine nostalgia with forward-thinking production and Onyx traverses a rich landscape of jungle-rooted moods.
Onyx introduces a step forward in the duo's production, utilising sculpted distortion as an instrument. Seen on 3 of the 4 tunes, this approach adds a temperative tension as the tunes give the impression they have gone too far into the distortion no go zone but ultimately finding a balance that compliments and enhances the tunes overall sound pallette perfectly.
Raw and direct with rich layers and honed grooves that ultimately mark the tunes as memorable, Onyx is on a new level for Pugilist & Tamen.

Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sounds.

This is the first of four volumes that will come together in a unique graphic artwork created by the acclaimed Aldo Drudi.

Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.

The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.

Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.

'Through Today' is the sophomore album for rising Australian band Chimers. A husband / wife duo comprising life partners Padraic Skehan (vocals / guitar) and Binx (drums / vocals). Recorded by Jono Boulet (Party Dozen) over two days at Stranded Studios, Wollongong and mixed at Boulet’s Sydney home studio, produced by the band and veteran manager / promoter / producer Tim Pittman (Feel Presents), 'Through Today' features ten tracks of tightly-coiled intensity that barely lets up for all of its 34 mins. In enlisting Boulet, the band were confident that due to his own experience of being one half of Party Dozen, they had someone who understood the confines of working within the structure of a two-piece but also the possibilities that creates. Boulet, in turn, rewarding that trust by capturing a powerful bedrock of sound that allowed the band's taught rhythms to circle and permeate and yet give full breathing space for the melody within. For Pittman’s part, having a third ear on hand to devote serious listening time and critical commentary was an added bonus. It’s a major step forward from the band’s 2021 self-titled debut. A twelve track effort that snuck out during covid and only hinted at the power within. "Our debut felt more like just trying to capture the songs we had at the time, we weren’t sure if we’d even release it or if it would be our only album" "This time around we were intent on capturing the energy and intensity of our live show on the recording but with a more produced sound than self-titled. We worked more on song structure previous to the sessions. We rehearsed a lot playing quietly so we could actually talk to each other whilst playing the song and iron out any kinks.” “Jono turned the whole live room into a drum room, mics everywhere. The guitar amps were situated outside to prevent too much spill but still recorded live along with about half of the vocals. Second guitar and the rest of the vocals were recorded the next day. Jono was super quick and had the same work ethic and mindset, get in, get it done. If the first take was good enough, move on.” - Padraic Lyrically Chimers maintain the intensity as they tackle the themes of love, life, death and relationships, distance from home (Padraic is Irish, moving to Australia in 2001) and the current political climate providing enough drama to fuel a forest fire. Guest musicians on the album include saxophonist Kirsty Tickle - also of Party Dozen - and violinist Jordan Ireland of The Middle East. Both of whom were invited in on short notice adding their respective parts in just 1-2 takes each without any prior knowledge of the material. Binx too showing added versatility contributing lead vocals to An Echo and sharing lead across 3AM, Generator and others. “Singing is not something that comes naturally to me, and it was at the last minute before we went into the studio that Padraic suggested I sing the lead in An Echo. Having very minimal musical instruments within the band I think having the two different vocals adds a nice dynamic to the record.” - Binx 'Through Today' is a great album. Solid and confident from the get go. No waste. No unnecessary fat. Should it be Chimers last it would remain a defining statement of originality and intent. But it’s not the last, it’s just the beginning. And there’s plenty more where that came from. BIO Like many good bands Chimers are a band born of isolation, not geographically though, via the pandemic. Irish born Padraic Skehan and his life partner Binx, formed the band in their Wollongong backyard during the initial lockdown of 2020. Veterans and drummers both of the ‘Gong’s vibrant garage-scene – The Pink Fits, The Drop Offs, Evol and more – Chimers is an altogether different beast, Padraic taking a giant leap forward by removing himself from the back-seat and assuming the role of driver; singing, playing guitar and writing the songs that would eventually become their 2021 self-titled debut album. It’s a sound and album that draws heavily on Skehan’s time as a youth in Ireland and the post-hardcore sounds of Dischord Records, Husker Du, The Wipers and which has seen the band find friends and favour in like-minds The Mark Of Cain, Henry Rollins, Guy Picciotto and Mudhoney. This is no mere nostalgia though, the band instead landing at the vanguard of a new generation of Sydney and surrounds bands – Body Type, Second Idol, Dust, Private Wives, R.M.F.C – borrowing from the past in order to create a future.

Fresh from the triumphant return of a successful domestic and international tour, Smif-N-Wessun's new album is a cumulative reflection of their life experiences. Executive produced by college professor and world-renowned producer 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn't sound dated. It sounds like them (Smif-N-Wessun), but it's also new. They are our generation's version of Thelonious Monk, Charlie Parker, Donald Byrd.”

Illustrious MCs featured on the album include Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price and Prodigy, multi-platinum RnB legend Ralph Tresvant, along with rising stars Sweta and Jalisa. Scheduled for release January 10th, 2025, Infinity cements Smif-N-Wessun's status as creators of nothing but classics. This is their eighth album and the second collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu'aath, and Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs.

• Earliest known full concert recording of Buck and his Buckaroos!
• Mastered from the original tape by Grammy®-winning engineer Michael Graves.
• Extensive liner note from co-producer Scott B. Bomar.
• First pressing on Strawberry Jam-colored vinyl.

Buck Owens and his Buckaroos were a phenomenon when they burst onto the scene in the early 1960s. in 1963–1964, they had five #1 Country hits including “Act Naturally,” “Love’s Gonna Live Here,” “I Don’t Care (Just As Long As You Love Me),” and “My Heart Skips A Beat.”

Their live Carnegie Hall Concert release hit #1 in 1966, but how exciting they were onstage before that was largely unheard. Unless you were there. Until now. The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 is the recently discovered, earliest full-concert recording of The Buckaroos onstage. The band, performing the aforementioned #1 hits and more, shows how their presence and performance in front of a live audience cemented their status as one of the greatest acts of all time—in person and on record.

Painstakingly restored and mastered by multiple Grammy-winning engineer Michael Graves, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 shows a band ready to take over the world. (Even showing appreciation to their new labelmates, The Beatles, with a cover of “Twist And Shout.”) With a first pressing on strawberry jam colored vinyl, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 looks and sounds like it could and should have appeared in 1964, but with 21st century style and technology.

So, head to Richmond and hear Buck Owens And His Buckaroos firing on all cylinders. It may have happened over six decades ago, but it sounds as vital and important to music history now as ever.

US indie-pop darling Chloe Moriondo announces new album oyster, out March 28th

Assembled with a close-knit team of cowriters and producers including Jonah Summerfield (Holly Humberstone, Tommy Lefroy), Chloe Kraemer (The Japanese House), AfterHrs, and more, oyster finds Moriondo pulling from all her musical palettes, delving into the depths of heartbreak and cataloguing the process of surfacing braver, wiser, and ready to dive back in. oyster is available for preorder now

Hailed as “one of indie pop’s brightest stars” (Teen Vogue), Chloe Moriondo's 2022 album SUCKERPUNCH marked a bold leap forward from the understated indie-pop and jittery pop-punk of her 2021 offering, Blood Bunny. The idiosyncratic artist has racked up critical praise from The New York Times, Billboard, NYLON, V Magazine, Consequence, UPROXX, PAPER, Alternative Press and more, with performances on Jimmy Kimmel Live! and The Late Late Show with James Corden. Now, she begins her next chapter with the wistful, pulsing single "shoreline," and more to come in 2025.

Deafheaven have shared details of their new album Lonely People With Power - set for release March 28th via their new label home, Roadrunner Records alongside releasing the first single from the record ‘Magnolia’.

Recorded with producer Justin Meldal-Johnsen St. Vincent, M83, Lonely People With Power follows Deafheaven’s 2021 studio album, Infinite Granite, which saw the GRAMMY-nominated band charting new ground and expanding stylistic boundaries. On Lonely People With Power, Deafheaven again confound expectations, piling element on element, and towering towards the sky with their most ambitious release yet. Tracked at EastWest Studios, Lonely People With Power includes additional vocal contributions from Jae Matthews of Boy Harsher and Paul Banks of Interpol.
The band return to the UK in June to play Manchester’s acclaimed Outbreak Fest.

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

Here for the year 2025 the new EP Voume 3 by producers Marco Fratty, Marco Flash, Alex Time.
Following the footprints of the previous volumes 1 and 2, this album also retraces Afro - Funk - Electronic Music sounds.
the production was taken care of in the sound by Marco Fratty (FPI Project).

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'

Sub Basics is back on his own fledgling label Temple of Sound - but under a new alias. As Tommy Basics he leads into a fresh house sound but still serves it up with plenty of his textbook bass-heavy low ends. 'Latitude' is a bubbly groover with dusty drums and fleshy basslines that get you moving and warmed up. 'Longitude' is even deeper, with smeared dub chords and woody percussive hits peppering the laid-back and inviting groove. Two stylish sounds from this versatile producer.

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech debuts on Glitterbox Recordings with a fully realised and fresh artistic vision, delivering ‘Times Are Changing’ featuring RAHH. A manifestation of Ben’s long-held career reputation as a magnet for talent, RAHH’s flawless vocal and the considered songwriting is ready to captivate listeners, creating an uplifting and anthemic quality with its jazzy bass with journey-like arrangement. The record has been committed to wax along with house legends Louie Vega and Josh Milan’s array of remixes and a Takin’ It Back Dub from Louie’s son Nico Vega. A 12” delivery already sought after by selectors of the highest order, this joyous soulful record is easily transformed into club-ready heat, without losing any of its heart across the mixes.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

SUNAGA tatsuo (sunaga t'experience)
DJ and Music Producer. Basing his activities around his own club ‘Shibuya Organ Bar’, holds regular club nights throughout Japan. Apart from his own mix CDs such as the ‘Organ b. SUITE’ which many say is in a class of its own, has produced remixes for the ‘Soul Source 2: Jackson 5 Remix’ and Yasuharu Konishi’s ‘Punch the Monkey’. He began his own label ‘AFTERS OR’ in 1998,acting both as artist and producer. Releasing records under the alias of ‘Sunaga t experience’ on avex/cutting edge records, the ‘It’s you’ 12 inch made record sales of 7,000 records, an incredibly large number in the vinyl market. His name is known in Europe through such labels as IRMA and SCHEMA records, and has remained in the forefront of the industry since the beginning of the Tokyo club scene.

"BlackFilter is the project of Pellegrino Mazzucchi, a percussionist, DJ, and producer residing in Modena, Italy. Pellegrino became passionate about music at an early age, thanks to the influence of his mother, a Fado singer of Indo-Mozambican descent, and his older brother, a DJ of Latin and World music who encouraged him to study Afro-Cuban percussion. Drums, or "Batuki" (as his mother called them when she was getting mad at him for the continuous rhythm that echoed through the house at all hours of the day), served as Pellegrino's first means of expression. He later expanded his sound palette through experimentation with analog synthesizers and drum machines. The fusion of these elements over time gave birth to the distinctive sound of Black Filter and "Batuki": a dialogue between Afro-Caribbean rhythms and futuristic Jazz with hints of electro and disco, offering the listener a sonic and refreshing sound experience."
"Batuki" is out on Ragoo Records.

We are pleased to announce our new EP from Simon Schilling, known under the pseudonym 'The Angel Code'. The talented ambient producer, originally from Heidelberg, brings a breath of fresh air to the ambient scene with his latest work. The release will be available both on vinyl and digitally in March. The Vinyl buyers will also receive a special bonus gift.

The Angel Code is not merely an ambient music project; it is an invitation to wander inward, to inspire introspection and connection. Blending ethereal textures, subtle melodies, and atmospheric layers.

A place where sound becomes emotion. Trust in the unseen. Let the code guide you. Vinyl Tastes Better...

Originally released in 1971, produced by the legendary Sandy Roberton and featuring the likes of Richard & Danny Thompson, Keith Christmas and members of Mighty Baby & Fotheringay, the album has been talked about in glowing terms by an ever increasing fanbase over the years & is highly sought after. It’s a beautiful mixture of folk, psychedelic flourishes and adventurous production combining majestically with Shelagh’s exquisite songwriting and purity of voice. It will immediately appeal to fans of Pentangle, Incredible String Band and Joni Mitchell, as well as the solo records from members of some of the biggest U.S. bands of the 1970s; David Crosby’s ‘If Only I Could remember My Name’ and Gene Clark’s ‘No Other’, and is presented here for the first time ever on vinyl re-issue.

Born in Edinburgh in 1948 before moving to Glasgow and attending the Glasgow School of Art, Shelagh McDonald’s reputation grew rapidly on the London and Bristol folk circuit, gaining a cult following. In her early twenties she cut her first album titled simply ‘Shelagh McDonald’, the following year entering the studio with producer Sandy Roberton (Ian Matthews, John Martyn, Chocolate Watch Band, Steeleye Span) to cut ‘Stargazer’. Unfortunately for Shelagh, following a bad LSD experience, she withdrew from not only the music industry but public life shortly before commencing work on her third album.

However, it is ‘Stargazer’ that continues to grow its reputation, with original copies changing hands for hundreds of pounds.

Imbued with the finest instrumentation and vocal delicacy in late ‘60s folk, the record is heightened by a progressive production approach; the slow organ grooviness in the traditional ‘Dowie Dens of Yarrow’, uplifting gospel overtones of ‘Odyssey’ and the perfect match of melancholic piano and haunting strings by Robert Kirby on the title track. These sublime arrangements all serve Shelagh’s songwriting and soulful voice that invoke the finest folk traditions but at the same time look forward.

The album is the inaugural release on new label Different Strokes For Different Folks with more genre bending, rare and cult records scheduled for 2025.

SATYA is thrilled to announce the next chapter in its vinyl-only catalog: an evocative EP by São Paulo-based producer Dru. Scheduled for release on March 21, 2025, this record captures the serene yet dynamic energies of Dru's distinctive sound, blending aquatic themes with dubby textures and grooves.

Dru is a producer and DJ with a passion for minimal and microhouse. He has steadily risen through the scene, earning the support of luminaries such as Mihai Pol, Arapu, and Barac. With previous releases on his own labels, Totoyov and Microdots, Dru has honed a sound that is both personal and universal, reflecting his unique journey.

Rooted in the calming beauty of Brazil’s pristine beaches, Dru explains that the EP emerged during a reflective chapter of his life. "I was looking to produce tracks on a more dubby vibe," he shares. "The aquatic and fresh feel of the tracks reflects my connection to the sea and the tranquility I find there." This theme flows through the EP, offering listeners a refreshing escape into soothing yet intricate soundscapes.

The EP comprises two standout originals:

"Lax" captures a serene moment in Dru’s life, characterized by personal harmony and simplicity. The title itself is an 
abbreviation for "Relax," reflecting the calm state of mind during its creation.

"Afterbreak" marks a transitional period post-breakup, yet the track maintains a composed energy, symbolizing growth, 
renewal, and forward momentum. 
Dru draws on a broad spectrum of influences for this EP, from the African-reggae-inspired percussive touches to the intricate dubby aesthetics of Andrey Pushkarev’s Luck of Access label. These elements intertwine with Dru’s Brazilian roots, creating a fusion of global sounds with a personal twist. 
One of the most exciting milestones during the production process was securing remixes from Nicolas Duvoisin and Superlounge, both of whom enthusiastically joined the project early on. With contributions from these respected artists, the EP transcends boundaries, bridging dubby minimalism and deep house groove.

The vinyl-only release marks an exciting new chapter for Dru and SATYA. With its aquatic themes, dubby energy, and heartfelt storytelling, this EP promises to captivate both seasoned collectors and fresh ears alike.