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Another side of Steve Rachmad. Preceeds and album of archive tracks that shows the far reaching talents of this master producer.. TIP!


Some things are just too good to be hidden from view. That's certainly the case with 'Things To Think About', the first album from Dutch electronic music legend Steve Rachmad's lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It's a while, though, since the public has been treated to a heavy dose of Sterac Electronics
material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12' singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on 'Things To Think About', a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad's youth.

'Things To Think About' will be released as a limited-edition double album, preceded by this 12' single featuring another previously unheard gem from the vaults.

The second volume of Bollywood Nuggets is a 14-track collection of instrumental gems spanning three decades, blending legendary composers with hidden talents for a rich musical journey. Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cinema soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of 3 decades, this compilation mixes well-known names (like S.D. and R.d. Burman or O.P. Nayyar), with lesser-known talents from the endlessly thrilling vaults of Hindi movie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes.

Das 1967 veröffentlichte Album "Jazz Raga" ist mehr als nur ein Album - es ist ein furchtloser Sprung in unbekanntes musikalisches Terrain. Gábor Szabó, der ungarische Jazzgitarrist, der für seinen grenzüberschreitenden Stil bekannt ist, liefert mit diesem Meisterwerk eines der faszinierendsten Alben seiner Karriere in diesem Genre. "Jazz Raga" vereint Jazz, Rock, psychedelischen Folk und östliche Einflüsse - mit Sitar-Melodien und lateinamerikanisch angehauchten Rhythmen, die dem legendären Funk-Schlagzeuger Bernard Purdie zu verdanken sind - und lässt sich keiner Kategorie zuordnen. Es ist eine hypnotische Fusion, in der europäische Tradition auf den Gegenkulturgeist der 60er Jahre trifft, alles verbunden durch Szabós unverkennbaren Gitarrensound. Vom verträumten Groove von ,Walking On Nails" über die wirbelnde Mystik von ,Mizrab" bis hin zu seiner eindringlich originellen Interpretation von ,Paint It Black" der Rolling Stones schafft Szabó eine Klanglandschaft, die sowohl gewagt als auch zutiefst gefühlvoll ist. Sein Spiel ist elektrisierend - voller ungewöhnlicher Akkorde, fließender Improvisationen und einer ganz eigenen Stimme. Auch Jahrzehnte später ist ,Jazz Raga" noch immer ein Meilenstein kreativer Freiheit und globaler Einflussnahme - ein Muss für alle, die Musik suchen, die Grenzen und Erwartungen überschreitet. Wenn Sie diesen Kultklassiker noch nicht kennen, ist es jetzt an der Zeit, dass Gábor Szabó Ihren musikalischen Horizont erweitert. Neuauflage auf 180-g-Vinyl.

"An immersive & fantastic experience that exists, fittingly, deep within its own musical bubble" - CLASSIC ROCK From its inception, TesseracT's 2024 Radar performance was about pushing boundaries - expanding the dimensions of what a TesseracT show could be. In their own words "The 90 minutes, or so, on stage, were proceeded by 2 full years of talks. Wild creative chats about ideas & an ever increasingly ridiculous level of ambition from both Joe at Radar & Mos in TesseracT. Venue changes, schedule changes, album touring, none of these impeded the momentum once the ball was rolling". The performance soars even higher with the addition of Choir Noir, led by the indomitable Kat Marsh, whose imprint was vital in shaping the vocals on 2023's landmark 'War Of Being'. The setlist of 'RADAR O.S.T.' is a ferocious journey through career- defining anthems including 'War Of Being', 'Legion', 'Nocturne' & 'Natural Disaster'. This 2LP edition of 'RADAR O.S.T.' is presented on Special Edition Transparent Orange vinyl in a gatefold sleeve with audio remastered at half-speed at Abbey Road Studios.

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythm-obsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves
and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.



In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.



A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums).


Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.

When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

This CD edition contains a bonus track, the magnificent “Love Always” that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975.


Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running!

On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Releasing a first EP at 35, after more than 20 years listening to alternative music and 10 years of DJing, could only result in something matured - something fermented. Fermented Beats EP is a blend of raw club energy and emotional textures, where grooves meet melodies. Rooted in club music but infused with influences from across genres, it reflects years spent absorbing music from a lot of different angles, distilled into a few tracks that speak both to the body and to the mind.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.



In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. “Us”, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.


On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!
crédits

Halfway between the West and the East, Mozart l'Égyptien was born from the idea of producer Hugues de Courson and Ahmed El Magghrabi to create a dialogue between Mozart's work and the richness of Egyptian music. Released in 1997, this album became an essential reference in the history of musical fusion, enjoying worldwide success. It is now available for the first time on double vinyl, accompanied by a 4-page bilingual booklet (English/French) recounting the genesis and history of this unique project.

AVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLETAVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLETAVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLET

AVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLET












j 10. Ouazat al Kahira – " L'Oie du Caire " [Mozart]
[k] 11. Symphonie égyptienne [Mozart]
[Mozart / Traditionnel]

South London's restless pulse runs through British-Bengali musician Tara Lily's latest collaboration with the enigmatic King Krule. On 'Quiet Nights (Early Takes)', the pair craft shadowy soundscapes where hazy jazz chords and warped synths blur into something raw and hypnotic. The standout track, "Tropical Storm," described as a "lucid dream playing in our minds again and again" captures flashes of early Archy Marshall chaos, refracted through Tara's sleek and sleepy vocals, over a bed of guitar pedals, synths and DIY beats. Talking about the project Tara says: "'Quiet Nights' are some of the early sketches from a deadly quiet and beautiful period of time. For myself it was a time of stripping back, dropping down into the ground and channelling something raw and real."

Zum 100. Geburtstag der unvergessenen Hildegard Knef erscheint eine außergewöhnliche Hommage: die
hochwertige Doppel-LP „GROSSE ERFOLGE & RARITÄTEN“. Auf 28 sorgfältig ausgewählten Titeln
entfaltet sich ein faszinierender Panorama-Blick auf ihre größten Highlights, bewegendsten Balladen und
charmantesten Geheimtipps – ein musikalisches Porträt voller Eleganz, Tiefgang und Persönlichkeit.
Diese exklusive Edition präsentiert sich in wunderschönen Vinylfarben, ist streng auf 1.000 Stück limitiert und einzeln nummeriert – ein echtes Sammlerstück für Liebhaber und Neuentdecker gleichermaßen.
Ein klangvolles Stück Musikgeschichte – und eine liebevolle Verneigung vor einer der größten deutschen
Künstlerinnen des 20. Jahrhunderts.

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

What We Do When in Silence is the trio of Nicola Ratti, Alessandra Novaga and Enrico Malatesta.

Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there’s a natural light sliding in from the 3 windows on your right side. There’s no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Synthesizer, piano, whistling, electric guitar and percussions.

Nicola Ratti is a versatile musician and sound designer who has long been active across diverse experimental fields. His sound production creates systems shaped by repetition and expansion, with a particular focus on building environments that resonate with the spaces and architectures we inhabit, and on balancing the emotional and perceptual orientations to which we are accustomed.

Alessandra Novaga is a guitarist who has been exploring, for years, the possible territories her instrument can lead her to. She has crossed through the most classical worlds, reaching into intangible abstractions without setting boundaries between the two. Sound, meanings, encounters, and narratives are the elements that guide her path.

Enrico Malatesta is a percussionist and independent researcher working within experimental contexts that intersect music, performance, and territorial investigation. His practice explores the relationship between sound, space, and movement, and the vitality of materials, with a particular focus on surfaces, listening modes, and the articulation of multiple layers of information through an ecological and sustainable approach to percussion instruments.

When Niko Moon broke out with his triple-platinum hit “GOOD TIME,” the Texas-born, Georgia-raised singer/songwriter lit up the country scene with his larger-than-life energy and message of radical positivity. Since then, he’s earned a passionate following, major TV performances, and praise from outlets like Holler and American Songwriter. With AMERICAN PALM Deluxe, arriving right before his headline AMERICAN PALM Tour, Niko expands his latest LP with
two new tracks, “BREATHE” and “BARE FEET IN THE SAND,” furthering his mission of creating music that feels like a“mental vacation” filled with sun-soaked serenity and coastal escape.

“Breathe is all about finding that place where you can take a deep breath and let your worries drift away,” says Niko. “I find peace by the water, and I wanted the song to be a mantra of positive self talk and a celebration of the coast.”

Niko partly grew up in Georgia, spending summers on Florida beaches, an influence that shapes the concept-driven AMERICAN PALM. Written during his THESE ARE THE NIGHTS tour with producer Danny Majic and songwriter David J, the record blends coastal sounds—ukuleles, nylon-string guitars, ocean waves—with organic beats and a touch of ‘90s hip-hop, nodding to his Atlanta roots. The result is a seaside getaway in album form, equal parts carefree, romantic,and life-affirming.

Tracks like “I LOVE THIS BEACH” and “YOU, ME & A BEACH” capture that spirit. The latter, a love song linking his wife and the beach as his grounding forces, helped cement the record as his first concept album. “SANDBAR” delivers a euphoric summer vibe, while “SANDCASTLES” reflects on life’s impermanence. “KING OF THE ISLAND” is a family
milestone—co-written and sung with his father, Cris Cowan.

Niko’s journey began early, inspired by his dad, a truck driver and drummer who introduced him to John Prine and Emmylou Harris. Niko picked up drums at eight, guitar at fifteen, and started playing in bars while working construction. A chance encounter with Zac Brown led to songwriting cuts like “Homegrown,” before Niko launched his solo career with “GOOD TIME,” a No. 1 hit on both Billboard Country Airplay and Hot Country Songs charts. From the start, he committed to making only positive music: “In a way a song is like a mantra, and I want mine to carry optimism and encouragement.”

Since his debut, Niko has sold out the Ryman, played major festivals like Stagecoach, and performed on The Tonight Show Starring Jimmy Fallon and Jimmy Kimmel Live!. Beyond music, he and his wife Anna founded the Happy Cowboy Foundation to support mental health and addiction recovery, and launched Happy Himalayan water and the American Palm clothing line, both of which benefit the foundation.

Muddy Monk's Ultra Tape is being released on vinyl for the first time



Originally released in 2020, this project, conceived as a mixtape, condenses five tracks that are both radical and raw, for a quarter of an hour of a ghostly and thrilling ride. Compressed and melodic, dark and iridescent, lyrical and modern, Ultra Tape offers, according to the artist, ‘a somewhat desperate view of life and the world, with a little note of hope added’.



The cover, designed by Swiss illustrator Dexter Maurer, extends Muddy Monk's unique visual universe. Created at a time when Dexter was beginning to get involved in musical projects, this collaboration was a seminal encounter between two Swiss sensibilities that are both melancholic and futuristic.

Eine bemerkenswerte Zusammenkunft improvisierender Meister aus unterschiedlichen musikalischen Hintergründen: Zakir Hussains Making Music erschien 1987 wie aus dem Nichts und fesselte die Hörer mit seiner
eigenständigen Klangwelt. „Der Austausch zwischen Flöte, Tabla und Gitarre ist oft atemberaubend“, bemerkte die Philadelphia Tribune und beschrieb Jan Garbareks Spiel als „Linien, die die Töne so biegen, dass
sie zur indischen Vokalmusik und zur Sitar passen – und an anderer Stelle die norwegischen Winter heraufbeschwören.“ McLaughlins elegante Akustikgitarreneinsätze fügen sich mit improvisatorischer Leichtigkeit
ein und verbinden die eindrucksvolle Flötenkunst Hariprasad Chaurasias mit Hussains scheinbar alle Pulse
durchwanderndem Tablaspiel zu einem harmonischen Ganzen. Es ist ein Leichtes, nachzuvollziehen, warum
die FAZ zu dem Schluss kam: „Ohne auch nur einen der vier wäre ‚Making Music‘ nicht vorstellbar.“
Das Album wird im Rahmen der Luminessence-Serie erstmals seit seiner ursprünglichen Veröffentlichung
wieder auf Vinyl aufgelegt und erscheint im hochwertigen Tip-on-Gatefold-Cover

Her music is a form of auditory interpretation, powered by curiosity and her toolkit of modular, analog, and rare synthesizers (including her signature Buchla), orchestral textures, and voice. Since her first self-releases in 2012 (Tides), she has explored the endless possibilities of electronic instruments and the relationship between sound, shape, color, body movement, and expression. GUSH follows Kaitlyn's recent collaboration with Hot Chip's Joe Goddard on the 2024 Neptunes EP, and it marks the first taste of new music since her 2022 full-length Lets Turn It Into Sound, which was nominated for the LIBERA Awards Best Electronic Album of the Year and won the praise of NPR Music, Pitchfork, The Guardian, Bandcamp, and more. In GUSH, she sets her sights on aesthetics, focusing on the heightened awareness of and presence in the world, where every interaction whether with people, objects, or nature has the potential to become a moment of connection, and personification.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Cintura Interna is João Hã’s new release for Sucata Tapes, a work shaped by accident, drift, and unlikely connections. Its guiding notion comes from “Música Careca” (Bald Music) — a strange term apparently used by Jean Dubuffet to describe his own sound experiments. Dubuffet wasn’t a musician, but he was bald; the phrase lingers as an apt description for music that is naïve without innocence: amateur bruitism, soft sound, raw and direct, where intention is left exposed to errancy.
The piece itself came together without project or plan, eventually forming what Hã calls an “accidental Frankenstein” — or perhaps Frankenoise. Built from recordings made more than 15 years ago on cassette and obsolete equipment, mixed with more recent material, Cintura Interna bridges time and decay, refusing diaristic or documentary framing.
As an unexpected detour, the release also includes a version of the garage classic Louie Louie.

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Comprising of sisters Eva and Grace Tedeschi, The Cords are the brightest new indiepop band from Scotland and this is theri debut. They started playing drums when they were little kids and later found that they liked 80s and 90s indie music more than their peers did, and so formed a band, just the two of them, with Grace on drums and Eva on guitar - and the songs started to flow. With only a cassette and a flexi single released so far (both of which sold out in a matter of hours), Eva and Grace honed their skills by playing a whole series of gigs with some of the biggest names in Scottish pop. Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded. Like all great pop bands, The Cords have taken familiar ingredients and created something utterly fresh. Older indie fans will hear echoes of The Shop Assistants, The Primitives, Tiger Trap and Talulah Gosh, but they will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places. Younger pop fans won't care about these old reference points: what they will hear is the sound of two young women doing something utterly exciting: playing loud guitar and loud drums, taking analogue instruments and hitting them hard in the service of immediate and infectious pop tunes, and not giving a second thought about the digital world that wants to own everything we do. The Cords sound free: they remind us that pop music, played right, is expressive, liberating, joyful and deeply personal. First single `Fabulist' is a sweet and catchy pop song that races along, so headlong and hooky that, on first listen, you could miss the fact that it's a wholehearted take-down of people who lie for a living. And the album is a fun rollercoaster ride from that point onwards, with the real stars of this record being Eva's sinuous guitar and silky vocals, and Grace's clattering, expressive sing-song drums. It's the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up. DIGIPAK CD, LP on BABY BLUE VINYL.

The inimitable Richard Youngs returns to Black Truffle with this third full-length for the label, Hidden. Like CXXI and Modern Sorrow, Hidden unfolds across two side-long pieces at once eminently listenable and possessed of the ‘bloody-minded’ dedication to ‘having an idea and sticking with it’ that Youngs himself has identified as one of the key qualities of his work.

At the core of both pieces are rapid, randomised arpeggios generated with a Moog Grandmother, hypnotic patterns that wouldn’t be out of place on a Berlin School classic. Alongside these arpeggios, across the seventeen minutes of the first side-long piece Youngs builds an airy structure of shakers, synthetic handclaps and a brief, repeated sample, impossible to identify but sounding like a glitched foghorn. Over the top we hear his unmistakable voice, repeating single syllables—Ha, Ho—with a slow delay, something like a lonely one-man-band take on Anthony Moore’s Pieces from the Cloudland Ballroom or a more musical elaboration of the hypnotically overlapping delayed phonemes of Anton Bruhin’s Rotomotor. Like much of Youngs' work, the arrangement of sounds is sparse, each layer punctuated by spaces that allow others to shine through, in a way that seems to have more to do with dub or early hip-hop than high-brow models of musical reductionism.

On the flipside, the arpeggios return, now accompanied by ringing, filtered guitar chords and long flute tones. The use of a similar ground layer across the two pieces with strikingly different overdubs calls up Youngs' first solo record, the classic Advent, reminding us of how consistent ‘theme and variations’ is as an approach in his enormous body of work. Joined by handclaps and a chiming sound, the piece almost feels like it is about to achieve dance-floor lift-off at times, only for the percussion to disappear and leave the listener once again floating among the guitar and flute, now joined by occasional cut-off vocal snippets, like a radio turned quickly on and off. The suspension of these disparate elements over the steady foundation of the Moog arpeggios might remind some listeners of the free-form studio explorations of Moebius & Plank and Holger Czukay or even give a nod to Youngs’ formative encounter with Cabaret Voltaire.

Like some of Youngs’ much-loved work with Simon Wickham-Smith, Hidden approaches relatively familiar sounds and instruments from skewed angles, delighting in loose structures of interaction that border on gleeful incoherence while remaining outwardly beautiful. Coming up to almost four decades of persistent activity, like little else in contemporary music Youngs’ work beams with the simple joys of exploration and experiment.



Berlin-based duo Brigade returns with their sophomore effort, having spent the intervening years refining their approach to sample-based composition. Where 2022's "Hard Times, Soft Music" established their credentials as purveyors of comfort food electronics, „Unlimited Dreams Corporation“ finds the pair digging deeper into the archives, constructing elaborate sonic collages from decades of discarded vinyl.The fictional corporate framework, a company peddling bespoke dream experiences, works as an aesthetic guide, appropriate for 2025.

The fourteen tracks unfold with the patience of bedroom producers who understand that the best plunderphonic work happens in the margins. Brigade layers found sounds and field recordings with careful restraint, creating pockets of warmth that invite repeated listening. The broken beat rhythms feel lived-in rather than showy, while the more ambient moments provide necessary breathing room. It's headphone music that rewards attention without demanding it, the kind of record that reveals new details months after initial discovery.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

"We're in the joy business," says frontman Ketch Secor, who launched the Grammywinning band in 1998. "From the very start, a lot of the virtues of Christmas -- the revelry, the singalongs, the happiness -- have been present in our show." Nowhere is that more apparent than OCMS XMAS , the group's first holiday album. Decorated with seasonal spirit and string-band stomp, it's the rare breed of Christmas record that packs a punch all year long, shining new light on the band's chart-topping version of American roots music. Old Crow Medicine Show aren't just reinterpreting their favorite yuletide standards; they're adding new songs to the canon, too, from "Jolly Man" -- a country-blues number inspired by Mississippi John Hurt and laced with harmonica, sleigh bells, and resonator guitar -- to the Zydeco- flavored "All About A Baby." They're telling fresh stories, too. On "Corn Whiskey Christmas," a bootlegger drives his Chevrolet through the snow on Christmas Eve, bringing moonshine to those craving a cup of cheer. On the John Prine-worthy "Bethlehem, PA" -- a sly reimagining of Jesus' birth story, with lyrics that substitute Steel Country for Jerusalem -- the band heads to the Keystone State to witness the Nativity, making stops at Wawa and Motel 6 along the way.

"Grandpa's Gone" grapples with the loss of a family figure during the holiday season, while the wicked "Krampus Night" puts a minor- key spin on the Christmas catalog, paying tribute to a folkloric creature who, according to Secor, "just might leave ya coal and steal your soul." Old Crow have thrived for more than a quarter century. Like many of their heroes, they've become torchbearers of classic folk music, reshaping those sounds for the modern world. They're creators, not replicators, and OCMS XMAS finds them tackling another tradition -- the time- honored Christmas album -- with humor, hillbilly twang, and novel ideas. Supported by the band's first-ever "Holiday Hootenanny" tour, OCMS XMAS just might be the start of a new tradition itself: a celebration of the seasonal sounds, shared joy, and holiday rituals that bring us all together. Christmas just got a new soundtrack.

Analog Mutants (Phill Most Chill on vocals, Snafu on production and Grazzhoppa on scratches) are back with the long-awaited debut album after 3 rapidly sold out 45s leading up to it! 12 years in the making with an incredible attention to detail, every bar is on point and this album will appeal to fans of De La Soul, Ultramagnetic MCs and anyone that loves a crazy medley of samples and funky fast raps! We guarantee you've heard nothing like this in the last 30 years!

Recorded and mixed by John Paul Peters at Private Ear Recordings and mastered by Jon Markson, the album showcases the band's collective songwriting and meticulous musicianship. Critics have praised Repose for its "brilliant ideas and exceptional musicianship" (Thoughts Words Action), and Fecking Bahamas ranked it #13 in their Top 100 Math Rock Albums of 2022 , cementing its place as one of the year's standout underground releases. Across ten tracks, Fox Lake balance technical precision with heartfelt energy, making Repose both a document of the band's growth and a highlight of Canada's underground scene.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

Since its inception in 2011 the Fuse label has grown to be one of the leading voices in the dance music underground, originally kicking off with co-founder Enzo Siragusa's 'The Sagamore EP', subsequent releases were kept strictly in-house with productions from the roster of resident DJs that feature at their London based daytime raves (Seb Zito, Rich NxT etc). In 2013 offshoot label 'Infuse' was initiated as a way of harnessing production talent from around the globe.

As a celebration of reaching 5 years of releases, a three part vinyl only EP is to be released featuring tracks from the established Fuse roster as well as a few new additions.

EP one features tracks from Enzo Siragusa, Dan Farserelli, Ferro & Makcim and Fabe. Seb Zito, Romanian talent Iuly.B, Ben Rau and Joseph Williams feature on EP two whilst Rich NxT, Rossko (making his production debut), Archie Hamilton and Sam bellis round things off with the EP 3...

STRICTLY VINYL ONLY!

Since her debut in 1983, Madonna has been one of the most important and revolutionary artists within pop music, influencing fashion and freedom of expression.
Bedtime Stories, Madonna's sixth studio album, was released in 1994 and saw collaborations with Babyface and Bjork. The lead single from the album, "Secret", gave Madonna her record-breaking 35th consecutive top ten single on the UK Singles Chart, while "Take a Bow" spent seven weeks at number one on the US Billboard Hot 100.

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

A must have double sider from Harvey Scales & The Seven Seas, containing two of the rarest tracks from their much sought after back catalogue. Originals have sold for eye watering sums of over £1700 in the past, attaining to its rarity but also the sheer quality of the music pressed into its grooves. ‘Trying To Survive’ is one of the great social-consciousness anthems and a slice of pure lyrical genius, whilst ‘Bump Your Thang’ hits with a heavy funk workout, channelling James Brown-esque energy in Chicago shoes. Red label version original black sleeve.

Chet Fakers Debütalbum 'Built On Glass' (2014) neu aufgelegt auf crystal clear Doppelvinyl!

Das Album ist eine atmosphärische Mischung aus elektronischer Musik, Soul und Downtempo-Indie. Mit seiner rauchigen Stimme und minimalistischen Produktion erschafft der australische Musiker intime Klangwelten, die zwischen melancholischer Reflexion und sanftem Groove schwanken. Das Album fühlt sich wie eine nächtliche Autofahrt durch neonbeleuchtete Straßen an – introspektiv, aber voller Rhythmus. Ein Meilenstein des modernen Electro-Soul.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.

The Sha La Das sind Bill Schalda und seine talentierten Söhne Paul, Will und Carmine, die aus Staten Island, New York, stammen. "Your Picture", das zweite Album der Sha La Das und ihre erste Veröffentlichung auf dem Label Diamond West Records des Produzenten Tom Brenneck (Charles Bradley, Menahan Street Band, Lady Wray), ist ein weiteres einzigartiges Zeugnis der mitreißenden Kraft der Harmonie zwischen Blutsverwandten und eine Hommage an die dauerhafte Liebesgeschichte zwischen Bill und der Matriarchin der Familie, Linda. Spuren alter Erinnerungen flimmern durch "Your Picture". Bills klassisches Songwriting und üppige Gesangsarrangements werden in neues Territorium katapultiert und aktualisieren den Doo-Wop mit dem basslastigen Groove und dem wirbelnden Pop von Brennecks schlanker, räumlicher Produktion. "Wir haben einige psychedelische Klänge eingebracht und uns von Deep-Soul-Platten bis hin zu den Beatles und den Beach Boys inspirieren lassen", sagt Brenneck. Liebe strahlt aus "Your Picture" heraus und fließt aus den schimmernden Melodien, die Bill und seine Söhne produzieren, während sie ihren musikalischen Traum leben.

Gong Gong Gong aus Peking und Mong Tong aus Taipeh sind gleichgesinnte Duos, die für ihre cineastischen und rohen Klänge bekannt sind und transglobale Melodien mit unwiderstehlichen Grooves verbinden. Auf Mongkok Duel haben sich die Bands zusammengetan, um einen imaginären Soundtrack für einen verlorenen Kung-Fu-Film zu kreieren. Es handelt sich zweifellos um die musikalische Untermalung einer übernatürlichen Geschichte über Ehre, Intrigen und (natürlich) Rache. ,Mongkok Duel" knüpft an die langjährige Rhythm 'n' Drone-Kollaborationsreihe von Gong Gong Gong an und präsentiert die unverwechselbare Ästhetik beider Gruppen, indem es eine gemeinsame Sprache aus zyklischen Motorik-Rhythmen, sich entwickelnden Drones, texturierten Soundeffekten, knurrenden Gitarren und growlenden Bass-Hooks aufbaut. Geschrieben und live aufgenommen in den legendären Proberäumen der President Piano Co. in Mongkok, Hongkong, spielten die Bands auf den Instrumenten und Verstärkern des Studios, die noch aus der Gründungszeit der President Piano Co. im Jahr 1978 stammen. Die Aufnahmetechnik des Studios ist ein einzigartiges System, das vom Eigentümer Lee King Yat entworfen und eingerichtet wurde und dem Album seinen unverwechselbaren Vintage-Sound verleiht, ohne dabei an beeindruckender Klarheit einzubüßen.