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Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

YLUR ist das Debüt-Album der isländischen Pianistin und Post-Klassik-Komponistin EYDÍS EVENSEN beim Label XXIM Records

FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive - "Bob" by Kapelle So&So feat. Cpt. Yossarian - was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately - which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point we leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bassdrum sound resurges on an old leather suitcase. We are talking of a traditional bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -almost blasphemous- endeavour actually sounds pretty neat and leads to the next big venture: A dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums you will catch yourself singing along Marley's part more than once thereby proving the profound impact of this divine music on our souls and our common musical knowledge. Bob Marley in Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes us on a trip through his conception of this otherwise well known material. Following the tradition of the before mentioned mentors of dub music he uses his mixing desk, a couple of studio effects and whatever odd sounding kids toys to present us with his approach to a musical genre that defined so many styles of music that followed.

Numbered limited pressing of The Craps Game from Double Dee and Steinski! 300 Green colored vinyl!

Our latest is now available on VINYL! Yes friends, Double Dee and Steinski return to vinyl -The Craps Game is now here on limited edition vinyl from new label Slamboyant!

The pressing is a short one, 300 numbered records, in jacket matching green vinyl! And also included is a brand new bumper sticker! Announce to the world your appreciation of our great works while performing double duty hiding those unsightly scratches and graffiti on your car (or home).

In addition to The Craps Game, and Stone Cold Crazy from ADA, is a brand new track “Let the Twenty Ride”, riffing on a bite in The Craps Game. It’s a loving tribute to JB, The Godfather, and c

Volume 20 of Attack the Dancefloor kicks off with what we think will be a future classic – ‘Atlantia’ by Level 42’s Mike Lindup. A stunning mid-tempo boogie cut with great spacey production, excellent lyrics and an extended mix by Dave Lee.

Next up is Lazywax’s synth heavy, 80s soul style rework of the forthcoming Raw Essence ‘Do it Again’, the original being featured on Produced With Love 2.

Flip it over for Dave’s much played take of Jungle’s crossover hit ‘Keep Moving’, which gives the song an authentic bassline driven disco mix. Last up Chicago’s Emmaculate delivers a live instrumentation filled afro disco version of Doug Willis feat Zeke Manyika ‘Dougswana’.

Limited Edition - Transparent Blue Vinyl

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.


Press:

Gazza Premiere

House Salad Music Premiere

Madoras Premiere

Music Is 4 Lovers Review

Le Visiteur Review

Hot House Picks

Faith In The Defected Basement - Livestream play


DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

His Master's Voice makes his second appearance on Delsin. Late 2019 the low-profile German producer released his first EP on the label backed with a remix by Vril -- who's taken care of the mastering on this EP again. 'Carry On In My Name' contains yet again four original works of engaging electronics. It's a fresh combination of dusty break-beats and stuttering rhythms boosted by rough, yet emotive melodies. A very well balanced pack melting together all sides of electro, drum & bass and glitchy atmospheres.

French artist Trudge returns to Lobster Theremin with his debut LP No More Motivation arriving on March 18th with a genre-bending and original masterstroke; charged as it is cerebral. The album's concept points to the artist's tumultuous relationship with music; plagued by life events and the looming shadow of tragedy. That same relationship however, has led to an album of nuance, a cathartic whirlwind that pushes and pulls from one part of the psyche to the next.

From the laden house sounds found in his earlier work, to the hard-hitting emotive techno we hear today, both Trudges’ personal and artistic evolution runs parallel, drawing between the lines of introspection and dance music’s modern functionality. Bangkok Radio kicks off proceedings with a reminiscent drive through the city's bustling landscape, as space unfolds the further we travel from the hustle and bustle of daily life. No Motivation, Meaningless is a nod to the producer's headspace - burdened by the unpredictability of reality and it’s governing influence on art; echoing throughout the entire album.

Mazzomba explores the duality of light and dark; heavily submerged sounds can be heard melting below the surface, as airy synths create an ethereal glow - acting as our torch through the crud-infested trench. The album's interlude Berserk provides a rest bite, an ambient dreamscape laced with deeply layered textures - casting warm fluorescent light amongst the clouds as balance is restored.

Dead Orange and Gradient demonstrate the artist's knact for intelligent sound-design and world-building soundscapes, while Unghosted and Punishments sees Trudge venture into raw and unwavering compositions created for the dance-floor. Closing the album is Blue Ritual, a thought-provoking piece that has the ability to transport and heal. It’s introspective layers point to the changing winds to come - rounding off an album not binded by genre, but an eclecticism that characterizes an artist true to his craft.

Munich’s most flexible shapeshifter comes equipped with three new weapons. Needless to mention he’s got full support of the RFR squad for his subversive revolutionary plans.
„Don’t try this at home“- a warning that has always been more of an encouragement to do forbidden things than inspire cautiousness. But basically correct, and for want of a booming club life, you better enjoy this Detroit burner with a proper car system or in an abandoned warehouse that is gettin cut into pieces by stroboscope lightning. Of course, under the correct appliance of all hygiene measures.
No, this ain’t a Trumpesque call to arms in order to charge for the Reichstag. On the contrary, it shows how any stable foundation can be undermined with a healthy dose of 90s acid. If you don’t believe it, just listen to Rakim’s „Stay in bed remix“ of „How to bring down your government“.
For the end of our adventure we are given a nice „Sidequest“. As for the reward, there’s a shiny loot box with legendary items, beautifully wrapped in trancey techno. Lovers of Aril Brikha might find some valuable treasure here.

Following widespread acclaim for his recent LP ‘Always Inside your Head’, on March 4th / April 8th Matt Cutler AKA Lone releases four re-works of tracks from the album, entitled ‘Natural Aerials’.

On ‘Natural Aerials (Mouth of God Part Two)’, Lone utilises a similar sound palette as album track ‘Mouth Of God’, but rebuilds it into a brand new banger. Energetic, deep, trancey and driven by jungle-schooled breakbeats, with bassbin shuddering low-end, he delves deeper into the vortex. Whereas the album was made predominantly using software, Cutler has since been buying hardware – and this marks the first track made on these newly acquired synths.

Based around a version from Lone’s recent sold-out live show at London’s Village Underground, on ‘Inlove2 (One Thirty Mix)’ he ups the original’s BPM count, with sights set firmly on the dancefloor. Taking cues from the ‘Ambivert Tools’ series, this is a high-grade, proggy, main room acid rush.

On ‘Visited By Astronauts (SHERELLE Had A Groove Remix)’, the fast-rising star takes an ambient interlude from the album, and gives it what she calls “a space age, footwork jungle twist”. Her first released remix, Sherelle continues an impeccable purple patch, with a re-rub that’s both airy and light, but also heavily percussive, full of propulsive forward motion. She states, "it’s a pleasure and honour to remix for Lone, as being a long time fan, it's a beautiful thing to be able to collaborate. I really wanted my first remix to be special and also for someone who I hugely admire, so Matt asking me to be involved in this process wastruly magical!”

‘Echo Paths Ebb And Flow’ takes a downtempo album highlight, strips it back to just the synths, then unfurls them into a blissful ambient work that’s melodic, warm and fuzzy, swaddling the listener in candy floss clouds.

Dimensions Recordings present an all-new dancefloor-ready remix package of tracks from Charles Webster's 'Decision Time' LP.

The release of Charles Webster's highly-acclaimed 'Decision Time' in late 2020 marked his first album project in almost 20 years.

An undeniable master of his craft, Webster delivered a body of work that was well worthy of the wait and saw support from the likes of Mary Anne Hobbs, Gilles Peterson, Joe Muggs and Tom Ravenscroft. With collaborators ranging from Shara Nelson (formerly of Massive Attack), to Ingrid Chavez (Prince muse & Madonna songwriter) and of course the infamous Burial, the British DJ/producer demonstrated that his ability to draw the right partners to exactly the right projects and execute them perfectly, has only improved with time.

In this vinyl remix package, Webster once more demonstrates his draw, drafting in an impressive cast of remixers to deliver a varied set of fresh takes on his original works.

Tokyo duo Dazzle Drums, South Africa's Jazzuelle, UK stalwart Mark E and the global trotting DJ Luciano present their unique takes on three cuts from Webster's incredible full length release.

Another essential piece of wax for your crates, this one drops on vinyl & digital via Dimensions Recordings on April 1st 2022.

First-Lady of Detroit and longtime member of the Planet E Communications family DJ Minx continues the label’s thirty year anniversary celebration with her ‘Do It All Night’ EP, out on 12” and digital platforms January 28. The EP features a peak time remix from the stratospheric talent Honey Dijon.

The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places.
Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general

Rhythm Rhyme Revolution are back with another cracking double A side 45 - sounding even more seasoned than the trilogy of exemplary albums that they have released.

A side: ‘SupaDupaStank’ has the interweaving sax of Jake Telfson and the majestic mouth organ of multi-instrumentalist Gareth Tasker erupting through the layers of the groove ridden arrangement like consistent currents of electricity, highly charged and full of energy. Barrie Sharpe and Betty Steeles add their vocal interjections towards the end in a glorious kind of marginal coherence. It reminds me of the prime of Eric Burdon’s War.

B side: ‘Deal With It’ is an outstanding piece of music. Surprisingly Jazzy - rarely heard of within Sharpe’s musical repertoire. The slinky vocals of Betty Steeles add a sweeter dimension to the overall sound. This one is more hard-hitting and moody - with Gareth’s simmering bass over a slow burning groove. All tied together with Jakes jazz sax lick throughout the track. The words of Emrys Baird (Blues & Soul)
Sharpe and co are essentially reasserting how masterly group improvisation rooted in intent social commentary feels fresh and at times provocative. They consistently release subtle groove inflected dance music of the highest order and show no signs of letting up. (The words of Emrys Baird – ‘Blues & Soul’)

As we emerge into the Now with a fresh perspective and renewed vigour, Red Laser Records usher in a novel epoch of Manctalo movements for our post-COVID enjoyment.

Entrusting piloting duties to four well decorated RL commandos, the EP serves to remind us all that despite everything that's happened, we can still find solace in red lasers, smoke machines and high-powered strobe lights.

Splitting open the collective dancefloor inertia is Kid Machine's 'Only Machines Allowed'.

A cybernetic b-boy jam straight outta the planet MEGOH circa 4044. Guided by electrified vocoder lines and a plutonium-grade, armoured groove this impenetrable battle rocket should issue the much needed power boost to get your body kinetics firing again when they release the e-barriers to hedonism.

Returning star fleet lieutenant Count Van Delicious has been collecting entities from the outer galaxies since his appearance on RL EP 9 ('Dark Fruit' w/ Senor Chugger).
Here he announces his return with an end-credits epic, an #inabiteveryoneelse theme from this young vet on a pants-off permo-buzz, up-scrolling through technicolored c64 visuals and deploying his now trademark zoopa-arps, euphoric synth stabs and thunderous low end shudder to deadly effect.

Meanwhile, Ste Spandex continues his cybernetic realignment surgery, dissecting a well circulated disco meme and adding voluptuous gender-neutral enhancements that'll be getting the next generation of androids frisky, despite their lack of reproductive organs. Fizzling synths, spherical repetition and a multi-dimensional mix of high voltage rhythms leaving that vocal line permanently downloaded in your memory cloud. No sharing necessary.

Scottish deep space observer Ernesto Harmon provides some cosmic ruggedness to close off our mission. Reinforced & galvanised low-end rhymix coalescing with humanoid synth expression and an infinite, carbon-free energy source keeping momentum plateaued through the morning after the night before. There's no off switch baby!

For astral travellers seeking solace in the new Now, EP12 kindly acts as an upgrade to your possibly dormant dancing system as you stumble out into the new nocturnal environment. Hopefully reminding us that the simple act of moving alongside one another in a pitch black, laser-guided club space hasn't changed that much...

Limited press, with artwork which could be the next top selling NFT, we urge our RL family to bag this collectable chronicle from the Red Laser Corp.

Kibir La Amlak remix of the classic Danny Red anthem 'Be Grateful'

The Vicious Seeds from St. Petersburg have been putting out 45s with their blend of raw cinematic grooves and deep funk instrumentals for a while, here they introduce us to vibraphonist Pavel Chiznik, who adds his midas touch to the group's well seasoned rhythm section. Reminiscent of early CTI recordings and - of course - Roy Ayers, the band delivers their own version of summer jazz dope beats, with sample-friendly drumbreaks, funky basslines, psych guitars and lush vibes. With communication to the group largely cut off or heavily censored, we leave it to the music to do the talking and spread the band's message. "Make records, not war".

”The Slow Rush”, das vierte Album von Kevin Parker als Tame Impala, wurde im Februar 2020 mit großem Erfolg veröffentlicht. Parker erreichte seine zweite Nr. 1 in Australien und sein bisher höchstes Chart-Album sowohl in den USA als auch in Großbritannien sowie 14 Top-10-Chartplatzierungen weltweit.

Die neue Farbversion von ”The Slow Rush” in limitierter Auflage, die zum ersten Mal seit der Erstveröffentlichung neu aufgelegt wurde, erscheint auf 180 Gramm cremeweißem Vinyl.

Mit ”Lost In Yesterday”, ”Borderline”, ”It Might Be Time”, ”Breathe Deeper” und ”Is It True” taucht Parker auf ”The Slow Rush” in die Tiefen des Ozeans der Zeit und beschwört das Gefühl eines Lebens in
einem Blitzmoment herauf, über wichtige Meilensteinen, die vorbeisausen, während man auf sein Handy schaut, ist es ein Loblied auf Schöpfung und Zerstörung und den unendlichen Kreislauf des Lebens.

Tubby did three original dub albums, “Dub From The Roots, “The Roots Of Dub” and the third is “Brass Rockers” with Tommy McCook ’pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named “Shalom Dub” you can call Tubby’s too because he mixed the versions as they were off the forty fives.

King Tubby and Producer Bunny “Striker” Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a “serious joke” (more of which later…) they went on to release the first pressings of this new musical genre namely “Dub Music”. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard…. The Remix / Version cuts to an existing vocal tune.

Osborne “King Tubby” Ruddock was born in Kingston, Jamaican the 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the USA. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm and Blues at local weddings and birthday parties His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Striker’s rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Hope you enjoy the set……

In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what MOJO called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a FIFA video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Soul Lazh and Linear System bring the first reference of Purveyance Label.
They come strong, with four energy techno tracks ready to deliver textures and direct vibration waves to the brain and dance floors.

"Gregory Porter’s GRAMMY-nominated debut studio album Water was released in 2010, and is now re-issued on Blue Note.

The album was recorded in the summer of 2009. The tracks include love stories, such as Illusion and Pretty, or protest for African-American civil rights, such as 1960 What? which recounts the 1967 Detroit riots. Gregory Porter also covers saxophonist Wayne Shorter's Black Nile with added lyrics. He also did an a cappella rendition of Feeling Good, made famous by Nina Simone in particular. Water was hailed by fans and critics alike, elevating Gregory Porter to the status of the next great male jazz star and marking the beginning of his successful career:

“Porter aptly refers to Water as “an album of love and protest,” though love is the clear victor. From the starkly beautiful “Illusion”, a hushed ode to a lost paramour; and rapturous “Pretty”, reminiscent of “A Taste of Honey”; to the percolated joy of “Magic Cup”, Porter knows how to get to the heart of the matter."" - Christopher Loudon, JazzTimes."

Spain’s fastest-rising band, Belako are announcing a very specialedition of their 2020 album ‘Plastic Drama’. The new, deluxe double LP will be released on 8th April via BMG and includes exclusive remixes by the likes of Wolf Alice, The Vaccines, Hinds and Crystal Fighters.

Hailing from the small town of Mungia near Bilbao, Belako have been playing non-stop in Spain and beyond these past few years, building a dedicated fanbase in their native country, which has quickly been spilling out into other parts of Europe and the US.
2020’s ‘Plastic Drama’ was the band’s fourth record, but the first since signing a major international record deal, and certainly their most ambitious to date. Self-produced by the band, ‘Plastic Drama' searches for “the real meaning of things in a world that translates everything into assembly lines, manufacturing and the exploitation of living beings,” say the band. “It’s about the harsh reality our generation is facing and the only good use of new technology, which is the ability to spread the word and call for action. The title of the album has another message, as it also reminds us the first world issues we’ve come so keen to complain about. We can only hope for a more responsible human legacy”.

They were named best new band by Rolling Stone Magazine (ES) and ‘Plastic Drama’ picked up top UK support from the likes of 6 Music, Clash, DIY, Dork, The Line Of Best and NME who hailed the record as ‘a bold next step from a band who have never been afraid of the weird or the wonderful. Belako step up and earn their place among the major players of the scene’.

Relentless in their craft and a ferocious live act at their core, Belako were the first band to tour Europe in the summer of 2020, breathing new life into old forgotten Spanish cinema drive-ins across the country for their live shows. The ‘Belako Pandemic Tour’ documentary was premiered at the San Sebastian International Film Festival and will soon arrive on digital platforms.

Having supported the likes of DMA’s, QOTSA and Liam Gallagher at Finsbury Park, and played major international festivals such as Primavera, SXSW, Rock En Seine & Benicassim, Belako’s explosive live performances have excited crowds from small dive bars in their early days to huge international festivals. Their anything-can-happen stage attitude showcases the power, electricity and punk ethos of this exciting young band, which also lead to them being the first ever Spanish act to be booked for the main stage at Reading & Leeds Festival.

Fast forward to 2022, Belako reinvigorate ‘Plastic Drama’ with a 50-date world tour to be announced shortly, kickstarted with the release of their new deluxe edition album in April, featuring remixes by some of alternative music’s biggest names. The band will also celebrate the release with an album launch party on the rooftop of Madrid’s prestigious Riu Plaza on April 6th. Details for all UK dates this summer will be revealed in the coming weeks.

Loraine James' new ambient-minded alias, Whatever The Weather, follows her 2021 solo LP Reflection (Hyperdub). In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she'd ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as "free-flowing, stopping when I felt like I was done," allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment - the location feels fixed while the conditions vary. The album opens at "25°C," a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James' proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, "0°C," its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout "17°C." Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. "2°C (Intermittent Rain)" ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side's opener, "10°C." The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. "4°C" and "30°C" display the range of James' vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones' Chino Moreno and American Football's Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at "36°C," while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

Back in stock ! Ltd Edition! Allotments will be necessary! Your Old Droog is back with "Dropout Boogie", a collaboration with dearly departed rap god MF DOOM. These two master lyricists trade verses on the track, reminiscing about their school days over an amazing Edan beat. "This the first song I ever recorded with DOOM," Droog explains. "This man’s work renewed my interest in hip hop and rhyming at a time when I got tired of hearing what was on the radio. Rest easy, villain." This 7? vinyl release features an illustration by Metalface art director SCOTCH 79th, and includes the Droog solo track "The Glitch" on the B-side, also produced by Edan.

Second release of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz great Gil Evans with a 16-strong all-star
cast from 1986
It will be released as a double CD in a three-piece digipak and as a triple LP in a
triple gatefold cover that includes detailed liner notes by Michael Laages. By the
1980s, the Gil Evans Orchestra's repertoire had developed into a distinctive blend
of Jimi Hendrix melodies, the band members' own compositions and occasional
references to Gil's older recordings. This concert in Hamburg contained four
songs by Hendrix, with only one ("Up From The Skies") being part of an original
studio album. The regular performances in Europe meant that the audience of the
band was getting younger and was also well acquainted with rock music.
A year and a half after this performance, Gil Evans passed away. He will rightly be
remembered forever for the brilliant albums he recorded with Miles Davis and
under his own name. In reality, however, he lived three quite contrasting musical
lives. As was the case with his Monday evening concerts in New York's Sweet
Basil, this Hamburg performance is a reminder of the lively late phase of Gil
Evans. Here a great all- star ensemble played an outstanding concert of eight
pieces in over two hours.

Reissue of the Count Basie Orchestra's 1970 album 'High Voltage',
arranged by Chico O'Farrill and featuring Eddie "Lockjaw" Davis, Cecil
Payne, Joe Newman, Freddie Green and Harold Jones among others
When in January, 1970 Count Basie entered the studio with his 17-piece big band
to record 'High Voltage', he ushered in the last full decade as bandleader of his
Orchestra. The Orchestra had left its imprint on the sixties by recording with the
likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with
star vocalists in the seventies, but the band's purely instrumental works, which
had begun in 1965, would also continue. Back then Basie had engaged acclaimed
Cuban composer/arranger Chico O'Farrill to arrange the music for such concept
albums as "Basie Meets Bond" and "Basie's Beatle Bag", transforming them into
crossover gems.
On 'High Voltage' O'Farrill demonstrates his affinity to Basie's big band sound, this
time with a repertoire of standards. For this album, Basie specifically chose
pieces the band had never recorded in their more than 30-year existence. This is
saying something, since the band covers such an impressive span of jazz history,
from the beginning of the swing era to the bop-influenced bands of the 50's on
through to the present album.
The Count's new drummer Harold Jones propels Fred Fisher's "Chicago" with a
tremendous drive. The Rogers and Hart classic "Have You Met Miss Jones"
features beguilingly dense deep- register horn lines and an almost languorous
piano, and Eric Dixon's tasty flute solo spices up "The Lady Is A Tramp". With its
smoky sophistication, Eddie Lockjaw Davis' Tenor dominates "Bewitched",
whereas guest trumpeter Joe Newman's muted tongue-in-cheek solo highlights
"Day In Day Out". Of course, Basie himself also steps forward: for instance, on the
Fats Waller-like intro to "I'm Getting Sentimental Over You", and with the playful
grace notes on "If I Were A Bell"." Reminiscent of the Las Vegas shows the band
performed with Frank Sinatra, "Get Me To The Church On Time" is also a
masterful dialogue between the horn sections.

ENVY OF NONE IS THE NEW BAND & DEBUT ALBUM FROM ALEX
LIFESON (RUSH), ANDY CURRAN (CONEY HATCH), ALFIO ANNIBALINI &
SINGER MAIAH WYNNE
The ambient, cinematic darkness that the collective creates evokes a
powerful atmosphere that will excite superfans & new audiences alike
Lifeson & Curran's long-time friendship was the catalyst for the band's inception -
but Envy Of None is not defined by its members resumes - they aren't Rush or
Coney Hatch & far more than the sum of its collective parts.
Above the beautiful cacophony of guitars, synths, bass & drums sits the fragile
melodies of 24- year old vocalist Maiah Wynne - the newest name in Envy Of
None's impressive personnel. Hearing Mariah's voice intertwined with the music
will bring back memories of when you heard Shirley Manson of Garbage or Amy
Lee of Evanescence for the first time. Wynne brings charm & beauty to these
recordings in spades - with floating hooks & emotive lyrics transcending the
oftentimes textural aesthetic.
The Storm Thorgerson- esque visuals that grace the cover may remind fans of
Lifeson's earlier work - Andy Curran explains: "the Hypnosis style artwork of
albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal &
attention grabbing & we wanted to scratch that itch. We were instantly drawn to
Lebanese photographer Eli Rezkallah at Plastik's photography & design work. We
fell in love with a bunch of his work - we had a hard time choosing something
because he had so many great images". However, the 70s prog/ Rush
comparisons may end with the artwork - the music that this ensemble creates
treads new ground with each track throughout their 42- minute debut, from
industrial/electronic influences to post-progressive soundscapes. Envy Of None
create a sound that will haunt, comfort & ignite.
"If you can picture maybe Massive Attack with a little bit of some electronic stuff
with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some
very, very dark heavy sounds" - Andy Curran (Envy Of None)

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Dr Packer's work has been showcased by labels such as Salsoul, Defected, Glitterbox, Z Records, Masterworks, Disco Dat, Hot Digits & Midnight Riot' and received support from DJs such as 'Dimitri From Paris, Joey Negro, John Morales, Greg Wilson, Late Night Tuff Guy, Simon Dunmore to name a few.

The Tinted Love E.P is a selection of remixes that the good doctor has done for Tinted Records.

Planet Mu presents ‘ADDLE’ – Bogdan Raczynski’s first album of new music in 15 years. Marking a change from the high-octane jungle tekno braindance for which he is most commonly known, here we find the Polish American musician in a more melodic and zen-like place of peace, which is ergonomic and decluttered, whilst also bittersweet and tinged with melancholy. ‘ADDLE’ is closest in spirit to 2001’s tender ‘myloveilove’, or the light-hearted ditties of this year’s ‘BANANS’ EP, but is also a markedly new milestone. A robust and bottom-heavy rhythm section juxtaposes with sad electronic tear jerkers, at points laced with the soft cooing wail of his vocals, which are loaded with a haunting, heavy and almost wounded emotion. Bogdan comments “Calm is great. You need to take a breather in the eye of the storm now and then. But the real growth happens in turbulence, when your feelings oscillate in and out of sync. It’s not dry land you’re after. You’re trying to build a new island while on a piddly raft. Beleaguered and weary you lay the foundation with your bare hands while the rain lashes your back; a new place for you and yours to moor yourself to until the next storm hits. ‘ADDLE’ is about that storm, its adjacent periphery, and what you look like, in and out, when you set foot. As space and time push against you, that process of adapting becomes an anchor. Among that state of being addled, out of flow, seemingly untethered, there is beauty.”

Although less unhinged and riotous than some of his previous work, ‘ADDLE’ is no less impactful. Lean, punchy and purposeful, this seemingly simple combination of beats and melody belies a razor sharp skill, which bursts with verve and virtuosity. Across its eight unique and moving tracks the listener experiences tenderness, feelings somewhere between unease and comfort, and a sense of reflection, with Bogdan seemingly gazing at twinkling stars, but with his view distorted by welling-up. Sonically, spaces range from razor-sharp choppage, juddering heavyweight head-nodders, bit-crushed siren squall and something akin to Philip Glass’ ‘Candyman’ score played through a high-tech-fairy-tale music box. There’s also a warming, life-affirming moment as close to deep house as Bogdan will ever comfortably get, neck-snapping metallic percussion, Casiotone on steroids and reverberant warehouse throb. Booming drum machines are a prominent factor too – reminiscent of early hip hop instrumentals – but spirited off somewhere, lost in purgatory. Bogdan Raczynski (born 1977) is a Polish-American electronic musician. Raczynski’s work draws inspiration from the chaotic breakbeats of jungle and hardcore rave as well as traditional Polish music and other sources. He has collaborated with Bjork, remixed Autechre, CLPNG and Jonsi from Sigur Ross, and toured with Aphex Twin, who commented how “his records are so underrated.” Bogdan was also a roster mainstay of Richard James’s seminal Rephlex label, with additional releases on Warp, Ghostly, Disciples and Unknown to the Unknown. A keen proponent of tech, he created a sample pack using pollution and recently collaborated with Polyend on a custom made banana-themed tracker.

The basislager crew from Stuttgart celebrates its first release with a four track techno ep by HLLW. After having run several parties in their hometown the boys decided to do the next step with their own record label. The ep consists of three original tracks by HLLW and a banging remix by Rove Ranger.

Repress

Bump 'n Grind Wax's newest relief channels a collective sigh of relief, one that promises to remind the world that joy and love can triumph through togetherness.

Bristol's sonic luminary, Rob Smith (aka RSD), has offered his support in this dynamic cover of Al Green's "Let's Stay Together." With a hint of lover's rock and a dash of neo-soul, RSD invites Denise Morgan to voice this timeless tune. On the A-side, prominent piano runs, synth stabs, and RSD's iconic drum section frame Morgan's deliciously-soulful approach to this classic. RSD brings the magic for the B-side version, "Let's Dub Together." With a blown-out bassline, Denise's tricked out vocal samples, and a thoughtful caressing of the track's timing, reverb, and echo, RSD adds his undeniable signature to the latest BnG Wax tribute.

A formidable architect behind the now-beloved "Bristol Sound," Rob has been an irreplaceable thread in the development of bass-heavy dance music since the 1980s. From raves to basements, lounges to sound system dances, Rob has pushed the limits of music technology to forge a vital link between the past and future. He is a pioneer who has explored the intersections of nearly every genre through dubbed-out breaks, drops, and quintessential remixes. BnG Wax is honored to have his fingerprints on one of our releases.

This spring, Atomnation is to serve up three remixes from Sam Goku's cultured East Dimensional Riddims album. The original full length landed in spring last year, and now contemporary innovators Lauer, Paula Tape and Ineffekt all offer their own unique versions.

Goku sees this remix EP as a way of showcasing the sort of tunes he plays in his mixes, most recently for the RA podcast series as well as for Ransom Note and Live At Robert Johnson. The Chinese-born but long Munich-based artist is an assured DJ who unites his different heritages when he plays. He's someone who taps into the similar emotions and motivations of east and west and does so with a nuanced, storytelling brand of house and techno that is warm and uplifting.

With influences like Parcels, Electric Wire Hustle, Blood Orange the Berlin based French-Italian duo Panna Cotta releases their accomplished 7 track debut EP “Sunrise” with an additional remix of the title track by label head Marcel Vogel. All songs are composed, mixed and mastered on analog gear to preserve the uncertainty of the moment, the imperfection of love.

Missing returns on his Sub System Recordings label with some 80's inspired vibes. For this outing he has teamed up with Skeleton Army (John from Foul Play) and the pair have gone in proper! To take things down the heavier jungle route, Tim Reaper was called in to strip it down and build it back up in the way only he knows how.