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Continued Sound is proud to present The Shadow by Ojiji.
In 1979, Rupert “Ojiji” Harvey put out one of the most distinctly original albums of a generation. Combining progressive jazz-fusion arrangements with soul, funk, and reggae from his native Jamaica, Ojiji’s The Shadow is an album only he could create.
Ojiji, along with his brother Carl, were performing in nightclubs before they were old enough to legally enter. At just 15, Ojiji was tapped by reggae keyboard legend Jackie Mittoo to join his band The Cougars. Not long after, the Harvey brothers teamed up with other Cougars members to form the funk band Crack of Dawn. This union proved to be groundbreaking, not just in the soul/funk genre, but for Canadian music as a whole. In 1975, they were signed to a major label, Columbia Records, the first Black Canadian band in history to do so. Tracks like “It’s Alright” and “Keep the Faith” still echo in the halls of Canadian funk history.
Personal and industry differences caused Crack of Dawn to break up in 1977, and a young Rupert Harvey was without a band for the first time. However, the creative mind never rests. Outside of the band, Ojiji had been writing and composing his own personal songs since age 17. These songs were a fusion of the sounds and styles he’d soaked up during his time with his musical mentors mixed with new emerging musical influences he was hearing every day.
With the help of his brother Carl and some Crack of Dawn bandmates, he began recording his debut solo album The Shadow. The band's tightness heard in the intricate arrangements are a testament to their interwoven musicianship at the time. Many tracks were recorded in only one-take. Each song in The Shadow’s eclectic glory paints a picture of a young man's singular lived experience through music. Regaling us with where he’s been. Inviting us to where he’s going.

d 4 All Your Love [I Miss Lovin]
[e] 5 Flyin' High [Yesterday]




[d] 4 All Your Love [I Miss Lovin]
[e] 5 Flyin' High [Yesterday]

Rising from the ashes of Timebox, Patto delivered a bold fusion of progressive rock, jazz, and blues powered by Mike Patto’s soulful vocals and Ollie Halsall’s stunning guitar work. Their second album, Hold Your Fire (1971), originally on Vertigo, is a true gem of early ’70s progressive rock.

Original artwork in gimmix gatefold sleeve. Remastered by Prof. Stoned. Insert with detailed liner notes by Ralph Heibutzki and rare photos / memorabilia.

“…an exceptionally fine album, with songs and playing of a standard rarely achieved in rock music…” - Nick Saloman (Bevis Frond)

From 1986-1987, Chet traveled and worked with the photographer and filmmaker Bruce Weber on a project that would become their Oscar- nominated documentary "Let's Get Lost"1988. During this period, Chet performed at the Cannes Film Festival and recorded sessions at Studio Davout in Paris and Sage and Sound Studio in Hollywood. All remained unreleased until now. Inspired by the film - which celebrated its 35th anniversary last year - SWIMMING BY MOONLIGHT is a two-record soundtrack album curated by Bruce Weber and produced by John Leftwich that compiles music, dialogue and live concert recordings.

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

Powfu and Lofi Girl come together to soundtrack life’s softer sides on ‘the life of a lofi boy’.


Lofi Girl’s chill beats meet Powfu’s heartfelt storytelling in ‘the life of a lofi boy’. Brought together by a shared love of lofi hip hop, this seven-track EP drifts through love, loss, and life’s quiet moments. Layered with soft rainfall, birdsong, and gentle vocals, each track captures a mood, a fleeting moment suspended in time.



So brew a warm cup of coffee, press play, and let the life of a lofi boy’s story unfold.

Repress!

Sublime deep House of the highest order from New Jersey's very own Kerri 'Kaoz 6:23' Chandler

'The Mood EP' is pure quality from start to finish & is one of Chandler's lesser spotted releases that is undoubtedly a classic

Released on the legendary Nervous label in 1998 it still stands head & shoulders above most other releases of the time

Fresh, essential & lovingly re-mastered & reissued for 2014

2025 Repress

heaven smile. raised from the dead. versions. outtakes. accidents. staalman studio circa '23. play it loud.

" A very limited 7” for the tropical heads, beat travellers and cosmic cumbia astronauts on the new imprint Sun Of A Beach — the free-spirited daughter of Editions de Lux, who skipped town, fell in love somewhere between Kingston and Cartagena, and came back glowing, barefoot, and heavy on the bass.

At home in the steaming rainforest as much as the urban jungle of the Chapinero district of Bogotá, Colombia’s psychedelic groove pilots Ácido Pantera deliver a double-sided tropical weapon aimed straight at late-night sweatboxes, boat parties, and sun-soaked terraces.

"Te quiero, te amo” is a declaration of love at 132 bpm, bouncing along like a low-rider over cobblestones while neon synths float in the humid air.

Flip it for “Pájaro cantor”, a sound system destroyer that will lock the floor in an acid trance that feels both ancestral and futuristic in the same breath. This one’s featured on the FC26 soundtrack and will have you shimmying like Luis Díaz right before he bangs one into the top corner!

You know what to do!"

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Do you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album Observation of Breath« for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in »maximal minimalism,« as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.

Das legendäre Kultalbum „Bastards“ aus dem Jahr 1993 ist endlich zurück – und das in einer limitierten, farbigen VinylEdition!

Mit brachialer Energie, kompromisslosem Sound und Lemmy‘s unverkennbarer Stimme gilt Bastards für viele Fans als das beste Motörhead-Album aller Zeiten. Klassiker wie Burner, Born to Raise Hell und I Am the Sword zeigen die Band auf ihrem absoluten Höhepunkt – roh, direkt und voller Wut und Herzblut.

Diese Sonderauflage ist ein Muss für jeden Rock- und MetalFan: Ein Stück Rockgeschichte, das in keiner Sammlung fehlen darf – Motörhead – Bastards, jetzt als exklusive Vinyl-Edition!

The legendary cult album ‘Bastards’ from 1993 is finally back – in a limited edition coloured vinyl release!

With its brutal energy, uncompromising sound and Lemmy‘s unmistakable voice, Bastards is considered by many fans to be the best Motörhead album of all time. Classics such as Burner, Born to Raise Hell and I Am the Sword showcase the band at their absolute peak – raw, direct and full of rage and passion.

This special edition is a must-have for every rock and metal fan: A piece of rock history that no collection should be without – Motörhead – Bastards, now available as an exclusive vinyl edition!

,No More Like This" beschäftigt sich mit Themen wie Sehnsucht, Spiel, Hingabe, Unterwerfung, Wiederholung und Reflexion, eingebettet in die Idee der Prägung - dem bleibenden Eindruck, den Menschen und Erfahrungen in uns hinterlassen. Es ruft in der Morgendämmerung, streckt sich zum Himmel, mit Charakteren, die oft zwischen Unterdrückung und Befreiung gefangen sind und auf der Oberfläche von etwas Größerem schweben. Dieses Album taucht in die Unterdrückung als Ablehnung von Authentizität ein. Es reflektiert darüber, wie wir uns falsch erinnern und unsicher bleiben, was wahr oder real ist. Eingetaucht in die Gewässer der Wünsche anderer, fragt das Album: Was wünschen wir uns wirklich? Wie können wir wissen, was ein echtes Verlangen ist? Klanglich verbindet ,No More Like This" Trip Hop, Electronica, Alternative, Techno und Indie und lässt sich von Künstlern wie MF Doom, Massive Attack und The Knife inspirieren. Diese reichhaltige Fusion schafft eine strukturierte Atmosphäre, die die Themen Prägung und Transformation widerspiegelt.

January 21, 2026 marks the 40th anniversary of Hideaki Tokunaga's major label debut.
A long-awaited new album will be released on this memorable day! Titled "COVERS," it marks the launch of a new series of cover albums that truly showcase Tokunaga's talent.
This is his first studio recording since moving to Nippon Columbia, and his first cover album in 11 years since his smash-hit series "VOCALIST 6." With "VOCALIST," Tokunaga
built his own brand on the concept of faithfully covering classic songs by female artists. "COVERS" features a wide selection of works by both male and female artists,
reinterpreting classics that he "want to sing now" with his own powerful arrangements and vocals. It's been exactly 40 years since the release of his debut song, "Rainy Blue."
Look forward to the new sound that has been created as a result of this journey.