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Slomosa from Bergen is one the great rock bands from Norway the last few years. Bringing desert rock from what is probably the least desert country in the world, Norwegian rockers Slomosa are due to release their 5th vinyl edition of their highly popular and regarded self-titled debut album. The three singles and album have so far amassed about 4 million streams and counting - and with their music's international reach the band has managed to gain a following in countries such as USA, Germany and Sweden, making the band "Norway's new shooting stars of huge rock", as music blog The Obelisk aptly puts it. Joined by a love for the rock scenes of the past, the band has made a name for themselves with their heavy and catchy sound, dubbed "tundra rock" by the band itself.

Auf ihrem zweiten Album "Anywhere But Here" verfeinern Sorry ihr Songwriting und begeistern einer Mischung aus Post-Punk und Leftfield 90s Pop. Produziert von Adrian Utley (Portishead).

Sorry's Debütalbum "925" (2020) war nicht nur ein künstlerischer Erfolg, es wurde von Kritiker*innen hochgelobt. Der Zeitpunkt der Veröffentlichung hätte nicht unglücklicher sein können: März 2022. Es kam der Lockdown, an Konzerte war nicht mehr zu denken. Trotzdem hat die Band nicht stillgestanden und hat im letzten Jahr die Twixtustwain-EP und ein Charity-Live-Album zur Unterstützung ihres geliebten Venues Windmill veröffentlicht sowie im fleißig Material für ihr zweites Album geschrieben. Als die Zeit reif war, zog die Band nach Bristol, um mit Adrian Utley von Portishead zu arbeiten und die Welt von "Anywhere But Here" zu erschaffen. Das Ergebnis ist ein mysteriöses, grenzüberschreitendes Album, auf dem die Songschreiber*innen Asha Lorenz und Louis O'Bryen versuchen, mit dem umzugehen, was die letzten zwei Jahre für uns alle mit sich gebracht haben. Im Zentrum steht das zeitlose Songwriting des Duos, das zwischen dem hookigen Post-Punk von "Let The Lights On", dem schrägen RnB von "Key To The City" und dem leftfield 90er-Pop von "Screaming In The Rain" hin und her springt und überall dazwischen Halt macht.

This Is DJs Choice Vol. 4 brings you a great selection of Funk, Soul, Latin and Hip Hop.

Five years after the last installment of the series, Volume 4 is compiled by Gu, a long-time friend and DJ partner of Unique label founder Henry Storch, and the tracks represent the two decades they have known each other and played records together, as well as the music they enjoyed.

All choices are originally 7 Inch records from Gu's crates put together like a DJ-Set for you to enjoy: The Soul of The Sweet Vandals and Carlton Jumel Smith, the Deep Funk of Naomi Davis & The Knights Of Forty First Street, The Supersonics and Sharon Jackson & The Soul Destroyers, the Latin sounds of Diesler and Eli Goulart E Banda Do Mato and the Hip Hop grooves of Jay Are (aka J.Rawls and John Robinson), The Bamboos featuring Ohmega Watts and Daddy-O of Stetsasonic.

This compilation is a celebration of music from beginning to end.

About This Is DJs Choice:

The series started as a friendship project by Henry Storch, who wanted to immortalise friends and allies from the DJ scene, who picked vinyl as their format of choice. The genre didn't matter, as long as the vibe was right. In 2008 Vol. 1 featured a selection of organic Club Sounds and Break Beats put together by Soulinus & Pun, followed by Keb Darge & Lucinda Slim and their favorite Rhythm & Blues, Rockabilly and 60s Soul tunes on Vol. 2 in 2009. In 2019 Les Intouchables aka Marc Hype and DJ Suspect presented a variety of funky and soulful music with an addition of the occasional Boogie, Reggae and Hip Hop track.

About Gu:

Gu is a DJ, musician, label owner, producer, writer and producer from Northern Germany. His dedication to music started in his pre-teens in the late eighties and he is playing vinyl ever since. Over the years he has worked with a number of his favorite DJs and artists like Keb Darge, Andy Smith, Snowboy, The New Mastersounds, Osaka Monaurail, The Sweet Vandals, The Allergies, Andy Cooper of Ugly Duckling, Daddy-O of Stetsasonic and Chuck D of Public Enemy to name a few. His DJ career took him all over Europe again and again.

In 2005 he started Our Label Records with his brother Tom to release new Funk music on 7 Inch vinyl and added the Hip Hop 45 imprint Origu in 2015. Since 2009 and he is on air every week with his radioshow Home Diggin', which was also picked up by Chuck D's Rapstation in 2019. Additionally he is lead singer/rapper for the Songcore duo Sorry We're Closed and the Hip Hop outfit Alder Ego. He also does readings of his book of one-liners and competing on Slam Poetry stages.

2025 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Ein weiterer außergewöhnlicher Release in der hochgelobten WaJazz-Reihe ist dem Leben und der Musik eines der berühmtesten japanischen Jazzmusiker der letzten 60+ Jahre gewidmet, dem legendären Saxophonisten Jiro Inagaki mit seiner Soul Media-Band und ihrer goldenen Ära 1968-1980. Diese ultimative Kollektion erscheint auf goldfarbigem 180g Doppelvinyl im Gatefold mit detaillierten Linernotes von Yusuke Ogawa (Universounds), Kommentaren von Jiro und exklusiven Fotos. 16 mal pures Gold aus Jazz, Jazz-Funk und Jazz-Rock, darunter eine unveröffentlichte Version des Tracks 'Express' – erstmals auf Vinyl!

FTV004 is an artist mini album from Spains Sergio Garcia recording under his Uf0 Alias. His recognisable breaks and electronic melodies keep in style of previous releases on Altered Sense, Further Electronix, Gated and Withhold, which drift in and out of lush pad heaven breakdowns and skipping breakbeats. Limited to 140 copies worldwide on eco coloured vinyl in eitherblue, pink or purple. Comes with an insert instructions of how to make a crop circle/Uf0 landing site. 5/5 reactions from Carl Craig, Ame, Michel De Hey, Doc Scott, Moy, Nick Warren.

NOW is going back to the 1970s to proudly present the next instalment in our ongoing ‘Yearbook’ series.

Released on 49 tracks across 3LPs pressed in beautiful blue vinyl, celebrating a magnificently diverse year of Pop singles… NOW – Yearbook 1977.

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

The Acidboychair music project started in the early noughties as a commentary on what journalist Simon Reynolds would summarise a few years later as Retromania. Initially conceived by Thomas Baldischwyler and Andreas Diefenbach as a performative revival travesty with large-format drum computers and synthesizers reconstructed from cardboard, everything took a surprising turn when DJ Mooner (the man behind the now defunct Munich music label Erkrankung Durch Musique) took an interest in the adventurous audio material produced by Baldischwyler. In 2005, the LP 1987 (EDM1016), produced almost exclusively with long-forgotten software (SoundEdit 16, RB-338, etc.), was released on Mooner's label. As a result of the growing number of bookings, Baldischwyler had to think about improving the performability of his intentionally amateurish productions. Fortunately, the Ableton Live programme became a DAW with a MIDI sequencer and support for VST plug-ins as early as 2004 - and this made it easier for him to execute his intuitive, error-friendly version of acid house. This can be heard on the first two sample-heavy tracks on the A-side of Come Down Easy, which were recorded in 2005 and 2006 respectively at Acidboychair gigs at Hamburg's Golden Pudel Club and Munich's Registratur. The first two tracks on the B-side (produced sometime between 2006 and 2008) were actually supposed to be part of a solo release on the Acido label run by Dynamo Dreesen, but this never materialised. However, the final tracks and the 133.3 BPM lock grooves that follow are the title and central to this catalogue number TBG123: Through ethno-musicologist Arthur Boto Conley, who had already released a one-sided 12 on his label with material from one of Baldischwyler's audio installations, he met Florian Meyer (Don't DJ) and Marc Matter (Spoken Matter), who introduced him to their collaborative project Institut F?r Feinmotorik (IFFM). Baldischwyler's attempt to approach the sound aesthetics of IFFM led to the tape 60 Minutes Of Barely Modified Lock Grooves (TCCC06), recorded in Rome in 2018. A buyer of this tape introduced him to the Detroit collective Pure Rave, which he immediately contacted and introduced to the work of the IFFM. It was important for Baldischwyler to have an analogue update made and so both the Detroiters and IFFM, who now live in Berlin, were given 8 copies of EDM1016's backstock to remix the material in their own way. At their jam in Detroit, Pure Rave opted for the almost identical material that IFFM had also used for a live performance in the Hamburg project space Beek. The dominant jumps in both arrangements come from the track Eightyseven, produced in the early 2000s for the LP 1987, an awkward remix of the Spacemen 3 track Come Down Easy, which is also referred to in the liner notes on the inner sleeve of TBG123. The almost two-decade-old revival idea thus turns into false memory syndrome and runs into a - in keeping with our times - clean-cut (endless) groove. Kassem Mosse (The KM of MM/KM) on Come Down Easy after a first listening session: I think it all works very well as a mix, no matter where you start it carries you further forward back in the loop. if I understand the liner notes correctly, it's about the music's turn from tradition preservation (doing everything right) to ecstatic delusion (not doing everything right when intoxicated). Now that I'm reading again instead of listening, the titles give me a different understanding of the connections; how the skipping belongs together, which playtime is connected. Now I can name my favourites. Thank you for the journey!

The Mommyheads will release "One Eyed Band" digital on 9th November 2024. The vinyl will be available WW in the beginning och 2025. After delving into the realm of concept records with last year's "Coney Island Kid", Mommyheads have returned to push the boundaries once again, while still sounding like they're having a great time. Without the slightest concern for genre or categorisation. They've now released seven LPs in six years! Well-crafted songs, deft musicianship and progressive arrangements keep them sounding fresh and relevant after 37 years together.

Sweep pumpin tribe on the A side, cool and bassy. pumpin.
B side runs tribe and pumpin as well, less bassy and more funky :)

Compilation selected from the etiopiques CD series.
"A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today."