Cerca:project one

ElectronicaA Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 6th August through their new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Dub Versions from dub pioneer Dennis Bovell MBE, as well as another new track “Stars, Planets, Dust, Me”. He has also provided a rare vocal performance.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When A Mountain Of One AMO1first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing Balearic, folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

Watch the teaser, soundtracked by new single “Custard’s Last Stand” HERE

The band also supplied the music for the stunning short film from acclaimed director Daniel Lindegren, filmed in London over lockdown. Check that out HERE

One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.

 OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.


Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.

2022 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

Reissue of the fourth Skinshape LP ‘Filoxiny’.
Skinshape is the project of British musician, William Dorey. The sound has roots in many genres, but in particular 1960s-70s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Skinshape grew out of a love for old music and the way it sounded. Initially Dorey experimented with samples (especially drum breaks) to create instrumental hip-hop/trip-hop tracks, but then later started to play around with tape machines as a means to create his own 'samples'. This process gave birth to Skinshape, with all elements being recorded by Dorey since the first self-titled album, released in 2014. He released his second album Oracolo in 2015, and in 2017 he released his third album 'Life & Love.' Aside from the Skinshape project, Dorey was bassist for the band Palace from 2014-2017, and also runs a reggae label called Horus Records, based in North London.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard

1. QUE BELEZA - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)

A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche

2. ON A SUMMERS DAY - Archie the Goldfish -

A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)

3. ENI AGEE - Cubafrobeat -

Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.

4. HARMONIUZINHO - Lokkhi Terra

Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.

5. KANDE REVISITED - Lokkhi Terra

This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".

6. NUORACLE - Justin Thurgur

Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.

7. EU TOPO - Beiju

Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .

8. SHADHO KI RE AMAR - Shikor Bangladesh All Stars

Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

Sympathetic Magic is an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. Sympathetic Magic is the follow-up to Kim Myhr’s 2017 album You | me, which was widely praised and received an honorary mention at the 2018 Nordic Music Prize. While the immersive warmth of You | me is still present, Sympathetic Magic is more expansive than its predecessor. A band of eight musicians playing a wide variety of instruments including electric 12-string guitars, drum machines, vocals, synthesizers, organs and lots of drums and percussion, has created a work of a grander scale. The shimmering, oceanic waves of You | me has been traded for cosmic currents in Sympathetic Magic. Put simply, Sympathetic Magic is a collection of song-like structures that has expanded into symphonic proportions. “With You | me, I wanted to create an ocean of sound, where the listener is surrounded by a myriad of elements that has equal importance in the music. I wanted to challenge this a bit, to push certain elements forward. The result is a more song-like kind of music than what I’ve done before.” – Kim Myhr Just before starting working on Sympathetic Magic, Kim bought an old 70s Yamaha organ (the YC45d), after falling in love with the sound of it on different recordings. At first, he thought the organ would be a subtle element on the new record, but it ended up becoming a focal point: “It’s a brilliant in-your-face sound that brought an ecstatic quality to the music. Playing around with this instrument, along with an 80s Roland Juno synth and a new drum machine took the music in new directions.” – Kim Myhr. Thematically, Sympathetic Magic circles around a longing for collectivity and togetherness. While the world was locked down in 2021, thanks to a commission from Oslo Jazz Festival, Kim had the opportunity to delve deeply into this project, working with the members of the band, one at a time: “The music created a situation of unexpected positivity. It felt like a social project even if I spent most of the time on it alone. And all this positive, joyful energy felt quite magical, arriving like out of thin air in this otherwise grim situation. It all felt like a hallucination, which fed back into the music. Sympathetic Magic is like a dream within a dream.” – Kim Myhr The title of the record is a term coined by James Frazer in The Golden Bough. He writes: “things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed”. “In a closed down world where all our connections with the outside suddenly are remote or absent, the line between the real and imaginary is blurred. I felt that the term perfectly summed up the thoughts, processes and sentiments that went into the making of this record”, says Myhr. “Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside”. The Guardian 1/And I Thought These Are My People 2/Gifting Senselessly In Endless Lavishness 3/Move The Rolling Sky 4/Iridescent 5/Up To The Sun Shall Go Your Heartache 6/I Wonder If I Shall Fall Right Through The Earth 7/Heart Streams

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

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

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

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

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

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

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

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

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

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

LP contains A2 poster on uncoated stock.

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

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

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

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

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

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

2022 repress, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

A truly incredible collection of foundation Jungle / Drum & Bass from these ground-breaking labels. Splash aka Undercover Agent aka Daz has been with SubBase since the start, having signed to Suburban Base Publishing (including the iconic track Babylon) back in the 90's and remained with us ever since. As part of the SubBase Family we’ve collaborated once again to deliver a perfect package of in-demand classics and unearthed dubplate specials.
Daz Ellis, most commonly known as Undercover Agent, was a true pioneer of the emerging jungle scene back in the early 90’s. He was heavily involved in the pirate radio scene, setting up the infamous Cyndicut FM to transmit breakbeats & basslines across the airwaves of the South East of England, noted for having one of the strongest and widest reaching broadcast signals of the period.

Under various aliases he produced music that defined the sound of the dancefloor. Early releases featured on the genre-defining Suburban Base & Lucky Spin labels.

As Splash his seminal track Babylon set the standard for how amens and ragga infused samples should sound, a format that has stood the test of time and can still be heard today regularly getting played by the world’s biggest drum & bass DJ Andy C! This compilation includes the 2 most in demand versions of this foundation anthem.

In 1994 off the back of his success he launched Splash Recordings, then the year after Juice Records came into fruition. Under the guises of DAZ, M.T.S. and various releases as Splash Collective, all on his own Juice & Splash imprints he gained an army of dedicated fans, demand from whom has led to the creation of this special vinyl box set!

For this exclusive compilation project Undercover Agent went searching back through his original studio master tapes from his impressive back catalogue to find both the original recordings, and some of the alternative edits that never made it to vinyl back in the day. There were also a handful of special versions made exclusively for DJ’s to play on dubplate that are now available for the first time ever.

Exclusive to this collectors box set are 6 never before released versions of classics such as Oh Gosh, Five Tones, Jah Works, an alternative mix of DJ Zinc’s remix of Hard Disk & Bass Kick that were unearthed from the original session DAT’s!

This album features 16 of his most legendary tracks, remastered & pressed across 4 slices of vinyl.



c B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) Unreleased

e C1. M.T.S - Baad Boy Sound ('95 VIP) Unreleased


h D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) Unreleased

j E2. Undercover Agent - Five Tones (97 Daz VIP Mix) Unreleased

l F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) [Unreleased]



[c] B1. Undercover Agent - Oh Gosh! (Daz '95 Dubplate) [Unreleased]

[e] C1. M.T.S - Baad Boy Sound ('95 VIP) [Unreleased]


[h] D2. M.T.S. - Hard Disk (DJ Zinc Remix VIP Dubplate) [Unreleased]

[j] E2. Undercover Agent - Five Tones (97 Daz VIP Mix) [Unreleased]

[l] F2. Undercover Agent & The Kriminal - Jah Works (Exclusive '95 Alternative Studio Mix) [Unreleased]

Alexandra Sauser-Monnig and Amelia Meath have been yodeling together for upwards of fifteen years – in the backseat of a Prius while on their first cross-country tour, on back porches and backstages. It’s what led them to Fruit, their debut release as The A’s – a joyous ten-song collection spanning genre and decades, with interpretations of traditionals, lullabies, and an original song, it weaves between the weird and the wonderful. “Why I’m Grieving,” originally recorded by the DeZurik Sisters, was the inspiration for the A’s existence. The A’s reach into the past to hold hands with the DeZurik Sisters, two farm girls from rural Minnesota who taught themselves to yodel amongst all their animals, in a continuing celebration of the tradition of folk eccentricity and whimsy. The A’s played their first show together in 2013 after Sauser-Monnig first moved to North Carolina, where Meath had been living at the time, but it wasn’t until summer 2021 that they thought seriously about making Fruit. They decamped to Sylvan Esso’s Chapel Hill studio, Betty’s, for two weeks in the midst of a balmy and blooming Carolinian summer. They rehearsed during the day, deconstructing yodeling parts phonetically and staring absurdly into each other’s eyes as they practiced tongue twisting harmonies - and recorded in the nighttime, candles lit, a flickering glow against the windows framing the violet twilight outside. “There was a lot of giggling during the session,” Sauser-Monnig explains. “At one point I was getting a tangle out of my hair and was like, oh, my God, that sounds really cool – the sound of my hands in my hair. And then I thought, what if we recorded hair for a percussion track? And then it just sort of snowballed.” Across the record, the A’s employ a bizarre-o ghost orchestra of strange noises that are percussive and melodic. The credits include nylon shorts, string (singular), hair, shoes, ice chunk, gravel, frog sample, and shoelace, among other unexpected makeshift instrumentation. The backing band is built out by a more traditional group of players: saxophone from Sam Gendel on “Copper Kettle,” backing vocals from Jenn Wasner (Flock of Dimes, Wye Oak) on “When I Die,” string arrangements from Gabriel Kahane on “He Needs Me,” and more. Fruit is made up simply of songs the A’s love to sing – there are lullabies and love songs; “He Needs Me,” written by Harry Nilsson and first released by Shelley Duvall in the 1980 Popeye film; traditional ballads like “Swing and Turn Jubilee,” “Copper Kettle” and closer “Buckeye Jim,” a multiplying song about frogs and nature. The sole original track to appear on the album is the penultimate “When I Die,” written by Meath. It contains both wishes and instructions for the celebration of her death, a low synth bubbling beneath Sauser-Monnig and Meath’s voices. It’s a collection of ten seemingly incongruous songs, but with the throughline of Sauser-Monnig and Meath’s vocals and sense of humor working in tandem, they fit together into a cosmic yodeling-folk masterpiece. Fruit feels like blowing the dust off a precious artifact of decades past, but also winking and modern. Sauser-Monnig sums up their ethos on the project succinctly: “If it doesn’t make you cackle or cry, it doesn’t belong.”

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before.
Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

Following several tragedies in his personal life, New York rapper El Gant had a decision to make—face those losses head on or bury them deep within. Luckily for us, he chose the former. The result is O.S.L.O., the emcee’s most gripping and personal project yet. It’s also his most relatable, because it shows what we’re all capable of when we’re equipped with the right tools to cope and, in El Gant’s case, transform that tragedy into something powerful.

The album arrives nearly a decade after his previous solo effort, 2014’s great Beast Academy, and after several years spent touring and recording with his group, Jamo Gang, with Ras Kass and J57. Despite the highs associated with that time, El Gant also experienced major personal losses. In particular, he lost three close friends—The Last Original, Bones, and Jim Misa—all of whom had a major impact on his life and career. In fact, the album’s title, O.S.L.O., references the Last Original, because it’s an acronym for “Our Sun the Last Original.”

But it wouldn’t be an El Gant project without some straight-up dope hip-hop, too. Tracks like “Avirex (feat. Innocent? & King Magnetic)” and “Chromed Out (feat. Ras Kass & Planet Asia)” are absolute bangers filled with shape-shifting flows and crazy wordplay.

There’s a reason for these tonal shifts, too; El Gant didn’t want to simply create a linear album. “I want to take the listener on a few ups and downs, just like life does for most of us,” the emcee says. It’s those qualities that make O.S.L.O. so immediately satisfying, and why it’s his most accomplished work to date.