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Kicking off the year in style, with a new album by someone we've greatly admired and whose music we've followed for many a year; the mighty William Burnett aka Willie Burns / Speculator and Black Deer.

We first were introduced to his music through the wonderful Grackle remix by our pals T.Keeler & Capablanca. Over time we've followed his many aliases with much enjoyment and can still recall hearing the first Black Deer music being played one afternoon in Phonica and NEEEEDING to know everything about it. There's also fond boat party memories in Stockholm soundtracked by the UTTU release. Not to mention WT Records putting out some brilliant records by now familiar faces - our favourites include Art Crime, Kartei and Tummy Tummy!

Recently, William has started a new long form interview podcast, Talk Video on The Lot Radio and Marc Maron comparison isn't far off the mark. Well worth digging into. He's also been making music for himself and we're chuffed to be releasing some of that with you now.

Artwork by Belgrade's finest, floating.bstrd

Dwight Yoakam occupies a singular position in contemporary country. No artist has better balanced mainstream commercial success with
artistic, alt-country credibility, while somehow managing to embody both the music’s most traditional and its most progressive impulses. ‘Blame The Vain’ marked a milestone for Yoakam as his first self-produced effort since splitting with producer / guitarist / bandleader Pete Anderson. Released in 2005 to critical acclaim, ‘Blame The
Vain’ has sold nearly 200,000 records to date. In honour of the 15th Anniversary of this album, New West Records are proud to present ‘Blame The Vain’ on vinyl for the first time.
Gatefold sleeve, 140g vinyl.

TERANGA BEAT proudly presents MAR SECK, a delicate singer and songwriter who marked the history of Senegalese music. TIP!A cross over between Cuban compositions and Senegalese Folklore, his songs gave birth to Salsa-Mbalax, the popular dance music of '70s Senegal that went onto influence a new generation of Senegalese musicians including a young Youssou N'Dour. Featuring 12 tracks recorded over three different sessions, ‘Vagabonde’ focuses on the best of MAR SECK’s career. The first recordings are taken from a raw and unreleased 1969 session at the Dakar National Radio. Recorded with his first group SUPER CAP-VERT from Rufisque, it captures an 18-year old MAR singing the first version of his now famous composition “Vagabonde”. The remaining six tracks from the session includes a beautiful cover of Fonseca’s “Sibouten”. A 1973 live recording is also featured here, made with the STAR BAND de DAKAR in Saint Louis. Previously unreleased, it comes from a time when MAR was establishing his name playing at the legendary Miami Club in Dakar, the “École de Passage” for all great Senegalese musicians. The final two tracks (one of them unreleased) finds MAR accompanied by the most complete band of Senegal, the NUMBER ONE de DAKAR. The 2LP & CD booklet includes photos and liner notes outlining MAR’s career. LP version comes with silk screen print, European 60s style, gatefold sleeve. All tracks are mastered & mixed from the original recording tapes.

Stargazer is a huge tune beloved by ravers all over the world, but for a long time the rights to it were in legal limbo. Kniteforce/KFA un-limbo-ed them to create this superb EP of remixes, featuring the classic original, the also classic Reese remix, a fresh new … err … old take by Dj Luna-C, and a proper tough remix from Audio-X. All in all, this single record covers everything anyone could want in an EP …

Club/DJ Support: Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

Intheboothsteps up with a diverse 3rd release. Nat Wendell kicks it off with a deep, bumpy groove complimented by a hint of soul. Alex Arnoutsteps up with a sleazy, rough, analogue type track to close the A side. The flip sidesees a Paolo Rocco edit of a remix Pijynmandid for Chez Damier and Ben Vedren'sproject H2H, while the record closes with a Pijynman original filledwithcorky jazz samples and chops. All in all the label sticks to it'sroots style selectionthatcatersstrictly to the house heads.

A truly special reissue of a fantastic and incredibly rare Afro-disco 12” from 1978, Tumblack - 'Caraiba/Invocation'. Originally released on the seminal French disco label Barclay, you'd be hard pressed to even find an original copy in the UK, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around.

Taking the A side of this EP Stefano Ritteri provides a “Spaziale Version” of 'Caraiba' that seamlessly blends elements of African, Afrobeat, Funk and Disco styles, with segments that continually morph and evolve into new tracks. Irresistibly funky and percussive drumming patterns and melodies hypnotise the listener, with only the occasional outbreak of African chanting breaking up the grooves.

The B-side contains the original version of “Invocation” that is effectively one long drum track broken down into 7 segments that never drop a beat alongside the original version of 'Caraiba' in all it's glory. As EP's go, this really does take the listener on a journey to Africa, via 1978 New York, and is a true one of a kind. And for all those sample-spotters out there, there's no end of complex drum patterns and basslines to dive into.

The 888 Miles E.P. includes two original tracks, 888 Miles and 777 Miles, which both develop a psychological tension that leads to moments of euphoric liberation where the synths soar and allow the mind the wander, accompanied by a rhythmic groove. There is a slightly different sensitivity between the two tracks that you'll can easlyer constat. Then, don't forget, even if the approach sounds different, the soul remains the same. The other original track, 000 Miles, places you on a spacecraft, with ambient musicality sounding like it could have been generated by hydraulic pipes or air conditioning. This E.P. release also includes '888 Miles XXX Reshape', a deep techno remix by none other than the awesome Francois X. He's probably the best person to describe it: "I've known David & Kevin (Klash Point duo) for a while now and when they suggested that I produce a remix for them, it was natural to say yes. It's funny how this piece of music saw the light, as it has a completely altered tone from the original. It's definitely one of my funkier tracks, with trippy and bluesy vibes - like a trip deep into the wild."

Rockets Audio starts the saga with 4 finest minimal house trackers by Matheiu, Denis Kaznacheev and the master trio Wareika. A rocket (from Italian rocchetto "bobbin" is a missile, spacecraft, aircraft or other vehicle that obtains thrust from a rocket engine. Rocket engine exhaust is formed entirely from propellant carried within the rocket before use. Rocket engines work by action and reaction and push rockets forward simply by expelling their exhaust in the opposite direction at high speed, and can therefore work in the vacuum of space.

In fact, rockets work more efficiently in space than in an atmosphere. Multistage rockets are capable of attaining escape velocity from Earth and therefore can achieve unlimited maximum altitude. Compared with airbreathing engines, rockets are lightweight and powerful and capable of generating large accelerations. To control their flight,
rockets rely on momentum, airfoils, auxiliary reaction engines, gimballed thrust, momentum wheels, deflection of the exhaust stream, propellant flow, spin, and/or gravity.

Rockets for military and recreational uses date back to at least 13th century China. Significant scientific, interplanetary and industrial use did not occur until the 20th century, when rocketry was the enabling technology for the Space Age, including setting foot on the Earth's moon. Rockets are now used for fireworks, weaponry, ejection seats, launch vehicles for artificial satellites, human spaceflight, and space exploration.

SOUND rockets are the most common type of high power rocket, typically creating a high speed pitch by the wave of rythm with an oxilator. The stored delay can be a simple pressurized detune or a single filter delay that disassociates in the presence of a curve (EQ + FILTER ), two hats that spontaneously react on contact (RANDOMIZER), two snares that must be ignited to react, a solid combination of effects with oxidizer (solid GROOVE), or solid fuel with liquid oxidizer (hybrid FILTER BAND DELAY). Chemical rockets store a large amount of energy in an easily released form, and can be very dangerous. However, careful design, testing, construction and use minimizes risks.

Vinyl Only

Heterogeneous label releases their first record with the intention to deliver diversity throughout this four track extended play.

Edmony Krater's work gets 3 remixes for this release! Also comes with the original version of  ''An Ba Jouk''... Check.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

"Drugstore phones" is a double LP from Russian wizard Piper Spray. This enigmatic producer is a hidden gem of Russian electronic underground. The album is taking you on an unexpected trip in many ways - it's hard to define the genre but one can feel the author's willingness to experiment and explore new sounds. This sonic documentary of Piper's world is breathing and constantly changing, though it's the most balanced and mature work of the author. A spectacular opener for GOST ZVUK's gatefold LP series.

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

This Remix, kind of a 'Egoless' version by 'Dubkasm' - With Title 'Enter The Gates' featuring Rider Shafique. ... Based on a new, white label which calls onself "Deep Medi Musik".

Hope, you enjoy.

'All We Are' & 'Alex Kapranos' Both Have History With Speedy Wunderground. Label Boss 'Dan Carey' Produced Awa's Shimmering Self-titled Debut Album & Also Franz Ferdinand's Third Long-player Tonight: Franz Ferdinand. For The Latter Carey Also Created A Dub Remix Version Of The Entire Album Called Blood, Tapping Into His Love Of Dub And Earlier Work With Artists Like Lee Scratch Perry And Mad Professor.

In True Speedy Style This New Collaboration Came About Completely Off The Cuff. Kapranos Came To The Speedy Wunderground Stage At London's Label Mates Festival At Moth Club In Late Jan To See An Artist He Had Been Working With Play. All We Are Were Also On The Bill, And After Chatting With The Band And Dan They Invited Alex To Come To The Speedy Session They Had Planned With The Band Two Days Later At Dan's Studio In Streatham.

Once In A Room Together The Music Came Fast. The Remainder Of The Day Was Spent Forming Lyrical Ideas. All Present Including Carey Contributed, Jotting Down Ideas, Excerpts Of The Days Phrases And Conversations And Putting Them Together In True William Burroughs Cut-ups Style. 'It Was A Way To Detach From Conventional Song Subject-matter' Says Kapranos. All We Are Agreed, 'The Writing Process Was A Lot Of Fun And For Us A Completely Fresh Way Of Looking At It.'

... The Resulting Track 'Heart Attack' Is A Skittering Disco-post-punk Jam. Equal Parts Of All Their Day Jobs Form Something Fresh, With Echoes Of Talking Heads And Alex's Unmistakable Vocal Delivery Over The Top. 'The Speedy Tracks Are Always Such A Good Vibe And The Studio Is Such A Special Place' Say All We Are. Kapranos Adds, 'as I Think Is Typical For The Label, Nothing Existed In The Morning When We Got Together, And Then Suddenly Everything Was Completed And Recorded By The Time We Went For A Pizza In The Evening.'

- Get Out Of The K-hole. Get On To The Beach.

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. “Completion Of The Amphoras Table”, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of “Completion Of The Amphoras Table”, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of “Mons Testaceum” (2007 ) and “Escape From The Hill” (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

Paul Young’s debut album No Parlez launched him as one of the most talented musicians of the early ’80s. The record reached number one on the UK Albums Chart and remained in the Top 100 for 119 weeks. After he released the third single from the album, a cover of the Marvin Gaye classic “Wherever I Lay My Hat (That’s My Home)”, the song reached the first position in the UK Singles chart.
Afterwards the second single “Love of the Common People” and the follow-up single “Come Back and Stay” charted all over Europe.
The last one proved that he was capable to chart with his own material as well. His great vocal individuality made him one of the most beloved singers of the early ‘80s.
... Unfortunately he couldn’t hold on to this success, but 'No Parlez' will always remind us of the great musician he once was.

Detailed Information about this LP:
'No Parlez' is available as a limited edition of 2000 individually numbered copies on purple marbled (purple & solid red mixed) vinyl.

Berlin based cellist and composer 'Anne Müller', announces the release of her long awaited debut solo album 'Heliopause', on November, 22th. 'Heliopause' follows several Erased Tapes releases featuring Anne, including her celebrated collaboration with Nils Frahm titled 7fingers, appearances on Ólafur Arnalds & Nils Frahm’s Collaborative Works, Nils Frahm’s All Melody and his acclaimed soundtrack for the film Victoria, Lubomyr Melnyk’s Fallen Trees, as well as the two bespoke solo pieces Walzer für Robert and Bel Tono for the label’s 5th and 10th anniversary box sets. In fact, a glance at Müller’s Discogs boasts credits on over 60 releases since she began recording in 2007.

Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

Working Men's Club announce a small run of remix 12”s, comprising of the brand new Anthony Naples remix and instrumental which will be released on November 15th' and placed in a limited Heavenly house bag. This comes after a previous reworking of the track by Factory Floor’s Gabe Gurnsey.

Heavenly’s Jeff Barrett says:
“We fancied one more remix, one with both feet on the dance floor - and it had to be Anthony Naples, the New York house/techno DJ and producer, whose recent album 'Fog FM' is considered sth. of a classic round our house.”

Anthony’s debut album Body Pill was released on Four Tet’s label in 2015 and his remix CV includes. 4 Tet & more recently Cinematic Orchestra. He's a cool dude, with a killer remix ...

Mysterious German producer His Master's Voice makes his debut on Delsin Records. With three mind bending originals plus an absorbing Vril rework his entry on the Delsin e-series is a deeply immersive beat trip into another dimension. The roughed edged ambiance of 'Fire Red' opens the dance in soothing yet engaging fashion with superbly spacious soundscapes pulling you in and slowly involving into a foggy kick drum extravaganza. 'Eve' then offers a deep and propulsive electro groove with glitchy atmospheres. Lead track 'Transition' hits hard, an intergalactic trip on turbulent stuttering drums and whipping synths. To finalize an immersive EP, close friend Vril jumps in for a rework of 'Eve' where he smoothly connects the dots between his typical dark bass lines and blistering dub chords.

When 'Push Comes To Shove' is the seventh studio album by Artist 'Soft Riot', he's the stylised musical alter-ego of Glasgow-based Canadian artist JJD.

Resonating with references from all corners of the synthpop’s origins (DAF, Fad Gadget and John Foxx to name a few), Soft Riot’s latest release nonetheless manages to retain its own individual voice, melding and reinterpreting its antecedents with a personal twist and an impressive demonstration of synth-craft and programming. Following on from 2018’s The Outsider in the Mirrors, these eight tracks represent a change in themes and an evolution in production and sound.

The forthcoming single and album opener “Taking The Edge Off” sets out the Soft Riot manifesto, a propulsive future-synth tale of forging ever-forwards in an increasingly noisy world.
“It’s No Laughing Matter” is a hedonistic yet propulsive dance-floor slammer — shades of minimal synth and metallic Belgian new beat condense in side one closer “Fate’s Got A Bone To Pick With You” and the dizzying italo-matic muscle workout “Don’t Get Yourself Bent Out Of Shape” is the ultimate self-help smack down.

The outcome has been a sideways step into more new wave pop aesthetics, and a looser sound (underpinned by the warmth of the production). This overall makes the album groove into a more dance-floor orientated full sound, thawing some of the cold-wave angularity The Outsider In The Mirrors.

Soft Riot has previously released six studio albums, including a wide range of remixes for other artists including Lebanon Hanover, Keluar, Celebration and Attrition.
He is also regularly touring the European underground synth/wave/post-punk circuit and sometimes beyond -

(Possession Records with UPC 'PSSN04').

VINYL ONLY. Second release of ORIGINE REC including three Original Tracks from II FACES (SAULL & BEN WEISS) and a crazy 303 remix from Guiliano Lomonte.

Originally slated for release in 1993 by Super Doppler Communications. It was primitively programed on 8-track sequencer then recorded on a 4-track tape machine in Hani's spare bedroom studio in Denver, Colorado. 26 years later, now Hani's name became internationally known & till this day he continues to produce & remix under many aliases while running his own label Soterios Records. In 2017 Hani started receiving several purchase requests from seekers of this nameless track from Jeep Warehouse Beats Vol:1 on B-side called 'Vector Selector'. During the search for the master DAT, Hani found this extended version now available for the first time on Jeep Warehouse Beats Vol:1.5. Included on the B-side is a track never before released from the same year 1993 that was slated for a single release. We are happy to make both tracks available with some help from Synchrophon in France.
Limited Edition 200 units with Unreleased Veggi Grooves from 90's & Extended Version of Vector Selector. Be quick !


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Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Ecke Records returns with its fourth release this November, the four-track ‘Grit’ EP coming courtesy of Xantrax with a remix from Addison Groove.

Taking the lead is ‘Tekline’, a murky, unfurling cut fuelled by off-kilter tribal drum work, bubbling bass delays and modulating synth flutters. Addison Groove steps up next on remix duties, reshaping ‘Tekline’ with choppy vocal cuts, dubbed out chord stabs and organic percussion floating atop the originals hypnotic groove.

‘Linetek’ opens the flip, as the name would suggest acting as a counterpart to the lead track, taking a 4/4 approach rhythmically while introducing a similar modulating bass line alongside chanting vocals.

‘0121’ then rounds out the package, an angsty, dynamically unfolding composition laid out over four and a half minutes with droplet synth delays, heady bass swells, spoken word vocals and crunchy broken drums.

Pentru Infinit - Endless Limited 2x12" 180g.

Vinyl Only.

Over 40 minutes of relaxing holiday on the mysterious Audio Island.

In the mid-80's, an original form of music was discovered on the midi-capable little planet of Austin, Texas. At the age of 32, Charles Ditto would release his first solo album applying cutting edge computers and synthesizers of the era (Roland DX7, Roland MKS-20, Roland MKS-80, Sequential Circuits Profit 2000 along with a Macintosh SE), creating a unique and detailed world that was inspired by Cluster, Eno & The Residents.

In Human Terms bridges the gab between contemporary classical and minimal pop. Rhythmic but melodically abstract. Microtonal and organic. Often described as experimental electronics, tone poems or Cyber-delic-psychotropic-avante-garde.
In Human Terms, remains very emotion, deep and different. Ditto's music imparts a new listening experience that is still somewhat indescribable today, but remains approachable and relatable.

'What makes Ditto's music so strikingly different is his overt use of emotion, very descriptive melodies and deep atmosphere' Audio Magazine - August 1988 // 'If Erik Satie had midi gear' Keyboard Magazine - April 1988 // 'Brian Eno meets Seastones, but with more melody' Relix Magazine - August, 1988 // 'Ditto's choice of Synthesizer tones are at once both organic and unique' Electronic Musician - June 1988.

Jarle Bråthen returns to Ivaylo's Bogota imprint with two original tracks accomplished with outstanding remix from another Norwegian fellow, Kim Dürbeck! Known for it's transmittable deep sound, Bogota Records delivers another timeless release!

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda.

Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan.
As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda.

The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward.

Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles.
An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed.

Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

They Say: “Composite themes and incidental cues for dramatic application”.

We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

As with all of our KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

They Say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”.

We say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans™ (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle and Keith Roberts, this is driving music for only the vibiest cats.

Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released.

Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP.

Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.

As with all of our other Themes re-issues, the audio for The All American Powerhouse comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

They Say: “Documentary and industrial underlays for current themes of modern life”.

We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop.

The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and “Panama” - before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal Cosmo Galactic Prism mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

For us, though, it’s all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the 3 minute mark…

The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set.

This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

As with our KPM and Themes re-issues, the audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metalic silver glory.

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

“Beautiful, beautiful. Magnificent desolation.”
(Buzz Aldrin’s first words when he joined Armstrong on the surface of the moon) Now that the world has come to a standstill please let us guide your attention towards this special 12”. Round and ever-turning like the moon, it rests on the record player. Move the tonearm and the disc will ooze strangely comforting tones.
Exuberant, yet melancholic at the same time.
RSS Disco have created a psychedelic, blissful jam that moves currents & constantly changes shape. Meandering voices inhabit the sphere, a pumping bassline secures the foundation. The warp core is frail at this power level but seems to be holding up.
Frequencies unravel, the bridge heats up. This must be fairy dust made of moon rocks.
On the dark side of the moon, we find ?Aera (Permanent Vacation, Innervisions) ?with his signature arp-fest. Elevating the original track form the surface to the stars, we have left home and there is no intention of ever coming back.

Remastered and reissued for the first time since their original release, AOTN are proud to present three classic cover versions from the lovers rock era. Al Charles' take on the Gap Band's 'Outstanding' is a full of swagger outing that takes all the sweetest of their melodies and gives it some added bass pressure for the dancefloor.

Tough to track down previously, the Sonia version of 'Easier To Love' was always a favourite amongst lovers fans. After getting a spin on Sam Floating Point's NTS show, its popularity soared and any remaining copies were quickly hoovered up. The final release brings together two of the finest lovers singers to ever duet, the late Jean Adebambo and Trevor Walters, covering Roberta Flack & Donny Hathaway's 'Back Together Again'.

The first press of the 12 comes in a printed AOTN sleeve which is a respectful tip of the hat to the OG dub vendor disco sleeve that many of these original 12s were distributed in.

“Cryptic, twilight emissions from Villalobos and Loderbauer; their synthetic compound of electronics and ouroboros jazz has walked from ECM and Perlon over to Mana.
Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.

Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”