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Strictly limited to 500 copies on transparent blue vinyl. The Swedish AOR band HOUSTON is back with their 5th album and 3rd of their series of self-titled releases, this one, simply called “III”. Houston has been around since their self-titled debut album in 2010 and landed the number one in Classic Rock Magazine’s AOR chart that year, up against outfits such as Unruly child, CrashDiet, H.e.a.t and Nelson.

We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

A deranged cacophony straight out of London, England. On their debut, self-titled release, VIOLIN blend elements of Swedish masters TOTALITÄR and HEADCLEANERS with the muscle and swagger of Boston 82 and the panicked power of NYHC in the mid 80s. The end result is a Mind numbingly fast and concise pure hardcore punk that is all together contemporary, edging in at times on the learned idiocy of Toronto’s S.H.I.T. VIOLIN is the brainchild of Lindsay Corstorphine (SAUNA YOUTH, MONOTONY, PRIMITIVE PARTS etc) who has written, mixed and recorded everything on this stellar release, with the exception of the drums, here carried out by the inimitable Jonah Falco of FUCKED UP fame. Pinning Falco’s drumming to Corstorphine's vision has nailed a sound which is at once huge and perfectly audible, whilst remaining brutal and ugly in tone. There are moments of genuine innovation on display as is evident on the track ‘Empty Mind’ which begins with discordant noise, before building from a mid-paced swing into frantic lunacy, and then introducing a harrowing and unexpected synthesiser. The stark black and white artwork, carried out by Daniel David Freeman, provides a perfectly abstract and menacing back drop to this slab of primitive hardcore.

Welcome to the Parish. Come, gather round dear lambs, as today’s sermon is about to begin. Crypt of the Wizard proudly presents the highly anticipated debut LP from pastoral proto-metal power trio Parish, available to pre-order on vinyl now. The two years since the release of their EP God's Right Hand have proved to be no fallow period for the band, who used the time to write and hone the 10 songs laid out on their self-titled debut. They returned to the majestic Holy Mountain to record the album. Making use of the studio's bumper crop of vintage equipment, Parish were able to unearth a sound that draws on the roots of heavy metal. The band's lyrics continue to revel in notions of the pastoral. Themes concerning the works of witches and the changing of the seasons are explored with economic and elegant storytelling. Songs of villagers besieged by strange travellers and poor wretches locked away in gaol conjure up a feeling of uncanny dread. Elsewhere, other songs suggest a sacerdotal attitude towards the earth and those who walk it. Parish stir up sweet memories of those subtle moments of perfection found deep in the discographies of heavy metal’s historic luminaries. Their sound reaches into places previously ventured by the likes of Wishbone Ash, Pagan Altar and Budgie, as well as folk revivalists Fairport Convention - a less obvious resource for heaviness, but a fine repository for musical depth. With any luck, Parish will in time join the aforementioned bands whose records will be played on repeat, locked in the unchangeable hearts of those unbothered by novelty and changes in musical fashions. Now our sermon has come to a close, peace be with you, and go forth in glory.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

The debut from new splinter alias of Manchester producer, sequencer designer, and Cong Burn label boss John Howes was made entirely on a Nord Modular G2, Elektron Machinedrum, and Monomachine – a rig he characterizes as “an authentic 2006 studio, best listened to on Windows XP Media Player or Winamp.” Paperclip Minimiser’s self-titled full-length collects eight elusively multi-dimensional constructs of stereo panned synthetics and slithering ambient techno, born of a web of generative patches subjected to improvisational alterations. Taking things further, Howes’ process involves “planting ghosts in the machines,” instilling each element with “some self-correcting behavior in a cybernetic / lo-fi AI / semi-autonomous agent kinda way.” The result is an ambiguous and dynamic hybrid of accident and intention, chaos and control, shuffling through an innerspace wilderness of psychic circuitry.

The title alludes to a 2003 thought experiment about the existential risk of artificial intelligence; how even a mundane objective, algorithmically extrapolated, could culminate in catastrophe. Here the notion is inverted, demonstrating the sonic infinities to be mined by “pushing and pulling at the strings” of musical systems. Howes aptly samples a vintage interview with electronic music pioneer Bebe Barron – co-composer of the Forbidden Planet soundtrack – discussing the anthropomorphic potential of randomized audio generation: “We thought of our circuits as actors in a script.” Paperclip Minimiser descends from a similar family tree, coaxed as much as crafted, flickering rhythmic synchronicities glimpsed in a mirage of wires and glass.

Theo Parrish and Marcellus Pittman's collaborations run deep, from those seminal Essential Selections 12"s some 20 years ago through to the T.O.M Project with Omar S, the 3 Chairs super group and on and on. In the usual Sound Signature style, a new link-up between the two Detroit legends arrives with a minimum on fanfare, just a killer jam with all the grit and soul you'd hope for from this pair. The drum levels push and pull in the mix from red line pressure to back seat driving, while a mellow blur of soul sampling comes calling through the mist until the titular low end glues everything together. It's understated and casual brilliance, everything a Sound Signature club drop should be.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his song writing skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.

With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors."

A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45 RPM on two glorious sides of 180-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.

The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

Patti Smith, “the first published poet to move her poetry completely into rock 'n' roll and to entice experimental rock fans into the forbidden cinema of her hallucinatory fantasy” (New York Times), began her musical career unconventionally. It took off at a poetry reading where she was backed by Lenny Kaye on guitar; later star photographer Robert Mapplethorpe financed her punk-rock cult single "Hey Joe". In 1975, encouraged by her success, Patti Smith released "Horses", an album in which she fused rock riffs and spoken rhythms to create a punk-trash sound. The rock scene was electrified, raging about ”the best garage sound of the 70s” (Creem Magazine) and conjectured that Smith had “drawn up material from Rimbaud, Burroughs, Dylan and Velvet Underground into a hot needle and injected it under the skin” (Sounds Magazine). Later productions were dismissed as sentimental and self-loving outpourings, since the rock-poet didn’t continue in the same vein as "Horses", with its metallic harshness and raw language. That’s why this recording remains an impressive unique production by a visionary rock ’n’ roll singer.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More than one of Jack's many nicknames, Zagg is also a shout out to her
uncanny ability to select an unanticipated word or musical flourish, her
disarming poetic acumen, her ability to zoom in and out at lightning
speed and spin a phrase into a mantra, or the opposite of a mantra
Each song on this record is its own unique little world, keeping a listener
delightfully off-kilter throughout the entire affair.
Opening track 'FMK' operates likes a sonic thesis statement. For a quiet moment,
Jackie's confessing her recurring mother-in-law dreams and initiating a suddendeath round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop
posture, ready to cut loose and head to the movies with her best boogie- boy:
'Let's go to the movies and dance a little…you can share my Twizzler…Let's go to
the movies, you can dance at the movies!!!' The charging, industrial pop of 'Get
Out' is augmented with punching strings that are both lovely and foreboding. In
the lithe, Rickie Lee Jones-nodding 'Yesterday's Baby,' a giant foot-shaped cloud
looms in the mouth- shaped sky and Jackie gets microscopic — 'Why don't you
just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut
your mouth up shut up your mouth.' After a few more dances, deep diaphragmatic
breaths, and Blood on the Tracks winking ballads, knock-out marathon track 'Keep
Runner' gives it straight to some Wile E. Coyote tomfool who's out getting his butt
blown up again." The energy of the record, I think, comes from finding out Patti
Smith didn't make Horses until she was 29. Extremely influential Wiki experience.
Oh, and Adam Green, my all- time favorite songwriter and artist, painted me
looking like a doctrinal seer peering into a cartoon mirror for the cover.
Pressed on Transparent Yellow color vinyl.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

Not a great deal is known about this talented artist having released only 4 albums in a recording career that started in 1993. Raised in a musical family by piano playing parents he began learning the instrument at an early age, later concentrating on the saxophone, but became a multi-instrumentalist by the time was signed to Verve Records, playing most forms of keyboards, synths, vibes, as well as sax and flute. He moved to Florida, from his native New York, shortly after graduating from studying music at university in New Jersey, and played in local rock bands whilst developing his love for jazz, and was working on a demo to try and get a record deal. 
 
Disaster struck when he was involved in a serious boating accident in which both hands were badly crushed and he was unable to play an instrument for many months, during which time he developed a skill for singing and composing. Turning adversity into opportunity is the best way to describe the outcome.
 
So why is a soul label interested in releasing some of his material? Both tracks selected, "One" and "Sweeter", are released on vinyl for the first time and come from his third album, "Lights On", released on his own label Eaak Records following a break of 7 years which was devoted to raising his children. The sounds are undeniably late night make-out music, lush, sophisticated and sensuous. 
 
The majority of plaudits for his work previously came from the world of contemporary jazz and, dare I say it, smooth jazz, and was largely ignored by the soul magazines and radio stations. His captivating falsetto vocal style, reflects his influences by Curtis Mayfield, Smokey Robinson and Marvin Gaye. All his material is self-penned and the albums were co-produced with drummer Guy Eckstine. There is an underlying 70’s feel to the contemporary arrangements and his work is clearly deserving of greater recognition.

Steve Hobbs (Solar Radio, Totally Wired Radio)soul

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Limited vinyl pressing in collaboration with Rico Toto. Artwork by Floating Bstrd.

Invisible City Editions continues our 10 year anniversary in adventurous sounds. We are thrilled to announce the re-release of Rico Toto’s 1993 CD recording Fwa Épi Sajès. Mind melting synthesizers and drum machines fuse with ancient Guadeloupe Gwo-ka rhythms in this musical endeavour Rico Toto describes as “Electro-ka.” The improvised live instruments of the Moundjahka ensemble meld with electronic abstraction to create a psychedelic, immersive digital diaspora dream state. With nods to Jon Hassell’s’ atmospheric soundscapes, YMO and Baldelli / TBC Cosmic mixtapes, this selection of songs encompasses an entire spectrum of moods and sounds. The A side begins with fourth-world tropical percussions, opening with sounds of nature in “Jungle Meditation” and leading into the downtempo summer synthpop jam “Yadadé.” The B side takes a darker turn, starting off with the deep chugging rhythms of “Rawal Pindi” and continuing even deeper with synth sounds and haunting vocals that culminates into the dreamy meditative final track, “Golgotha.”

Mozes And The Firstborn liefern waghalsigen Garagen Pop, catchy Surfmomente, kratzige Gitarrenriffs, Ahh's und Ohh's gewürzt mit reichlich Selbstironie. Im Frühling als Support von Two Gallants, The Growlers und FIDLAR auf Vorstellungsrunde, erscheint am 20. September das Debüt Album in Deutschland, Österreich und Schweiz bei Siluh Records. Im Herbst 2013 folgen Auftritte u.a. beim Reeperbahn Festival, dem Waves Vienna und der Berlin Independent Night. Das verschmitzte Grinsen haben die vier Jungs nicht umsonst aufgesetzt. Nach unzähligen Shows auf House Partys, in Coffee Shops und Spelunken haben sich Mozes And The Firstborn auf die großen Bühnen der Niederlande gespielt und rumpeln bisweilen selbst in nachmittäglichen TV-Formaten. Auf Europas wichtigstem Newcomer Festival Eurosonic gewannen sie schließlich auch die Schweißporen der internationalen Gäste für sich. Launig, waghalsig und mit viel Übermut präsentieren sich die vom Garagen-Punk-Rock der 70ies infizierten Jungspunde vor Publikum. Nun erscheint ihr selbstbetiteltes Debütalbum in Deutschland, Österreich und der Schweiz auf dem Wiener Label Siluh Records, das zuletzt mit Releases von Sex Jams und Mile Me Deaf ein Händchen für rotzige Gitarrenmusik bewiesen hat. Mit lausbübischem Humor, dem Draufgängertum der jungen Rolling Stones, der verpeilten Lockerheit der Black Lips sowie dem erstklassigen Songwriting von Indie-Heroen wie Guided By Voices überzeugten sie auch das kalifornische Label Burger Records, das bereits zum internationalen Sprungbrett für Szenegrößen wie Ty Seagull, Black Lips oder King Tuff wurde.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Was?! 25 Jahre sind es schon?
Vor kurzem erst aus dem langjährigen Winterschlaf erwacht, mussten die SKINFLICKS feststellen, dass es nun doch schon ganze 25 Jahre her sind, dass die Band 1997 in Luxemburg gegründet wurde! Ein unserer Meinung nach willkommenes Datum zum ausgiebigen Feiern und Anlass genug, die wohl besten SKINFLICKS Gassenhauer auf eine explosive Schallplatte zu bannen!
Damit man sich bei der Gelegenheit überzeugen kann, dass die Band auch nach einem Vierteljahrhundert nichts an Relevanz und Frische verloren hat, glänzt die Compilation mit etlichen neueingespielten und exklusiven (!) Versionen alter Klassiker, so z.B. das ehrwürdige "Lionhearts" oder "Stick yer disco up yer arse!", ursprünglich aus dem Gründungsjahr bzw. 2000. Auch der Oi-Meilenstein "What I am", ein Song, der durch die Jahrzehnte hindurch so oft gecovert wurde, dass der Track wohl bekannter ist als die Band selbst, wurde neu aufgenommen und bezeugt, dass die Band nichts an Aggressivität oder offensivem Stolz eingebüßt hat. In neuem lyrischem Gewand präsentiert sich der Song "Smash the referee" - ursprünglich "Smash the Love Parade".
Wer bereits die nun extrem rare 2017er "Anthology" zum 20-Jährigen verpasst hat, weiß, dass man hier sofort zugreifen sollte! Sichert euch also besser gleich dieses Kleinod an Oi-Historie, mit unantastbaren Klassikern wie "Skinhead", "Kings without a crown", "Terrace terror" und vielem, vielem mehr.
Die Jahre haben den Songs nichts anhaben können; nein, diese sind nicht nur in Würde gealtert, sondern sind immer noch brandaktuell in ihrer Haltung. Auch die Band ist offensichtlich nicht eingerostet und so haben die vier Luxemburger Jungs bereits wieder begonnen, die ganze Welt mit Konzertreisen zu beglücken.
Also, worauf wartet ihr?

Violence is the self-titled third album from Baltimore born/ New York based artist, multi-instrumentalist, and cult figure Olin Caprison.. Their compositions are known for vivisecting and seamlessly merging the idiosyncratic features of hip hop, metla, RnB, and electronica, creating a language all their own. A dense multilayered opus, the album takes us on a journey through religious ceremony, nightmarish visions, and the forgotten corners of a decaying cityscape, leading us to the celebratory catharsis of the club. Entirely written, produced and performed by Violence, the project is an ambitious and singular vision that takes their unique sound to transcendent new places. The album initiates with Small Body, a solemn hymn inspired by the procession of nurses encircling a congregation in black pentecostal tradition. It's freeform chanting and syncopated body percussion invoke the trancelike rhythms of call and response music. A hollowed chamber of reverence that pulls us deep into the vision of the album. It's followed by Reptile, a horrifying slab of industrial intensity that merges multiple narratives seen throughout history to interrogate a side of victimhood not usually explored. A baroque masterpiece of intricate instrumentation and celestial theatre, guitar melodies blast across a delicately woven tapestry, reflecting the manic, distorted, and unstable mindset of the central figure.

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

Although Los Hermanos Ballumbrosio are one of the most emblematic groups of Afro-Peruvian music, no single recording has been able to portray the essence of the group... Until now. "Homenaje a El Carmen" ("Homage to El Carmen"), their debut album for Buh Records, sets the record straight: it captures the true spirit of the musical tradition of El Carmen, a city located a few miles to the south of Lima that is home to the largest black community in Peru. Songs based on percussion and zapateo bring back the memories and experiences of a culture that has produced one of the greatest treasures of Peruvian music. "Homage to El Carmen", the third volume of the series "Perspectives on Afro-Peruvian Music", signals the return of the group to the recording studio, and also to the sources of rhythms such as festejo and panalivio, which they interpret with cajón, quijada (jawbone), congas, bongo and batá. The result is a distillation and a testimony of the memories and experiences that portray the cultural universe of El Carmen. We have access to a selection of traditional songs that are heard during the festivities, such as "Guanchivalito", which is played during the Yunza Negra, a ceremony in which a willow tree is cut to bring benefits to the community. "Panalivio " and "Serrana Vieja" are two traditional Christmas carols that are played in the "Hatajo de Negritos" and which reflect the syncretic character of the Afro-Peruvian culture. These songs speak of the difficulties of rural life, but they also serve as a vehicle to demonstrate the Ballumbrosio brother's mastery in the art of zapateo, a dance that is accompanied by violin and bells. The classic "La Esquina de El Carmen" is perhaps the song that best expresses the erotic character of festejo, also known as baile de cintura (waist dance). "Homage to El Carmen" is the highly anticipated return of the Ballumbrosio brothers to the recording studio. They have become indisputable references of Afro-Peruvian music and have displayed their sound and dances around the world. It was time for an album that portrays the essence of the group: a collective spirit, where the tutelary image of Amador Ballumbrosio always shines, and which traces a history from Africa to El Carmen. This album is published in vinyl format in a limited edition of 300 copies. Include 8 full-page booklet with liner notes in Spanish and English. Produced by Manongo Mujica and Daniel Mujica. Cover by Yerko Zlatar.

Stella Sommer, das ist diese Frau, die so zwingend nach Stella Sommer klingt Nach vier Alben mit ihrer Band Die Heiterkeit und zwei Soloplatten übertrumpft sie sich mit ihren 24 neuen Songs auf "Silence Wore a Silver Coat" nun selbst. Auch, was das schiere Volumen, die immer dichtere Stimmung ihres sehr eigenen Universums angeht, an dem sie mit diesem Doppelalbum mit vehementer Konsequenz weiterbaut. Wie bei ihren vorherigen Solowerken ist es auch auf ihrem neuen Album ihr glänzender, dunkel changierender Gesang, der vor wildwachsenden Klanglandschaften leuchtet und ihre stimmliche Ausnahmestellung in Deutschland bestätigt. Immer noch gilt: So hoffnungslos schöne und attitüdelos stolze Popmusik schreibt sonst niemand in diesem Land. Wir hören einmal mehr eine große Songschreiberin und Arrangeurin, die ihre Kunst mit leichter Hand beherrscht, und damit ein gänzlich unangestrengtes, kalkülfreies Meisterwerk schafft. Zum ersten Mal hat Sommer ihr Album mit der ihr eigenen beiläufigen Souveränität auch selbst aufgenommen und produziert, denn warum sollte man das nicht tun, wenn man es kann. "Northern Dancer" und "Was Passiert Ist", ihre beiden jüngsten Werke, solo und als Die Heiterkeit, waren in sich geschlossene, durchkomponierte Alben - dramaturgisch fein konstruiert folgten sie beim Hören wie ein kooperatives Wildpferd am hängenden Führstrick ihrer Erschafferin.

Originally premiered in its earliest state at Tate Britain by William Bennett and Mary DeBlois in 2010, the SIXTEEN WAYS OUT magnum opus reflects over a decade's work of compositional refinement and elaborate studio expansion, and is the first Cut Hands release since 2014's highly-acclaimed FESTIVAL OF THE DEAD on the Blackest Ever Black label. The end result is a mystical showcase of musical esoterica, its seventeen tracks fusing the most arcane elements of subliminal extralinguistics, avant-garde transformational hypnosis, and dark self-help secrets. You will never hear anything quite like it. Available on 180gm vinyl and CD. CD version includes beautiful 12page booklet with expanded texts.

Landmarks and milestones are always memorable, but the 50th EP release on FUSE feels that little bit more special as head honcho Enzo Siragusa steps up to the mark and returns for the second time this year. Having launched the label in 2011 with his now iconic ‘The Sagamore’ EP, the renowned selector and producer has grown and shaped the FUSE from a Sunday after-hours to one of the most notable names within house and techno worldwide - anchoring the label at the heart of its identity and bringing its trademark sound to an international audience. Following material from original residents Rich NxT, Rossko, Seb Zito and Archie Hamilton through to regular guests and close friends such as Guti, East End Dubs, Michael James and Fabe, October sees Siragusa showcase both his and FUSE’s evolution over the past decade as he uncovers two bustling productions across his ‘Dreamscape’ EP.

A production oozing with his signature sound, yet introducing fresh subtleties in amongst the track’s snaking groove and hypnotic melodies, ‘Dreamscape’ welcomes a title cut full of energy as the FUSE boss picks up right where he left off to provide yet more heavily requested material on home turf. On the flip, ‘Bean That Talks’ sees Siragusa get playful while maintaining the vigour of his bustling live sets, combining chunky low-ends with skippy percussion and rich pads to showcase precisely why he and FUSE continue to flourish as leaders of a sound that they can truly call their own.

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

'Xaybu: The Unseen' is the sophomore release from Sélébéyone, the
international avant-rap collective led by saxophonist and composer Steve
Lehman, who has been hailed by The New York Times for his "sure-footed
futurism" in the realms of modern jazz and contemporary classical music
Comprised of MCs HPrizm and Gaston Bandimic, saxophonists Lehman and
Maciek Lasserre, and drummer Damion Reid, their eponymous 2016 debut was
hailed as a game-changing synthesis of underground hip-hop, modern jazz and
live electronic music that was described by Pitchfork as "legitimately new" and a
"revelation."
On 'Xaybu', Sélébéyone - which means "intersection" in Wolof - continues to build
on its groundbreaking work with shifting rhythms and state- of- the art sound
design, now with a newfound sense of effortless fluidity. The word "xaybu" in
Wolof refers to the concept in Islamic mysticism of al- Ghaib - that which is
unknowable and unseeable. HPrizm (a.k.a. High Priest, legend of New York's
underground hip- hop scene and a founding member of Antipop Consortium),
Bandimic (one of Senegal's most distinctive young rap stars), and Lasserre are all
Sufi Muslims, and that spiritual connection and sense of abandon and giving in to
the unknown has been a cornerstone of the group since its inception.
The result is a profound musical statement filled with otherworldly sonorities,
intricate compositional structures, and cutting- edge improvisation that deftly
explores spirituality and mysticism through the lens of experimental music.

Born and raised in Hackney, Mychelle first picked up a guitar aged 10, but put it back down again shortly after, before returning to the instrument at 17, when she quickly began making a name for herself busking around the capital. In 2019 she was spotted by Idris Elba who invited her to his studio to write and sing on his Yardie Mixtape project, the soundtrack to his directorial film debut of the same name. 2021 saw Mychelle release her stunning debut EP, Closure. It was named BBC Radio 1Xtra host Jamz Supernova’s No. 5 EP of the year, which celebrates the world of future R&B, and she went on to perform an intimate rendition of ‘Life Isn’t’ on Tonight With Target. FAMM is a management company and label which independently releases music from award-winning recording artist Jorja Smith, Maverick Sabre and rising star ENNY.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth in the early 70s. Their delicate songwriting acquired, after his treatment, a special Tropical aroma that even included the funk influences received by Salcedo at that time. He released with his band, La Onda Tres, a few LPs and singles that had a limited distribution, mainly in Colombia only. This anthology comprises a selection of songs that celebrate Salcedo's sound signature: a base of coastal funk with vocals and melodic bubblegum-bomb arrangements and hints of light psychedelia. Many of the compiled songs became popular radio hits in Colombia that Jimmy Salcedo and La Onda Tres recorded and arranged at the Zeida studios in Medellín. These recordings include Latin-jazz tracks ('Mira') with stunning percussion solos, songs recorded under a heavy Caribbean-soul influence ('­Qué linda es Colombia!' and 'Lo mismo de siempre') 'Maranguango', an irresistible mix of Afrolatin percussion and catchy Tropical harmonies spiced up with moog keyboard sounds, fuzz and wah wah guitars and even touches of hammond, in a psychedelic funk style, an exhilarating moog driven instrumental with a heavy Afro-funk rhythm ('Moogambo') and revisited Latin classics ('Moliendo Café').

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

MORE COLLECTIBLE CLASSICS ON VINYL FROM THE UKs BIGGEST GARAGE BRAND PURE!

A second instalment of the best-selling UKG compilation of all time, returns with a stunning stack of high value collectible classics on DJ friendly vinyl.

Pure Garage Collectible Classics Volume 2 is jam packed full of funky UKG flavas from legends of the scene including Zed Bias, Anthill Mob & Scott Garcia remastered and cut to two slices of heavyweight black vinyl.

The platinum selling compilation brand needs no introduction and these first ever exclusive boutique vinyl releases are truly something very special.

Kicking off this compilation is a collaboration between Zed Bias & KC, the Let Me Know (Zed Bias Remix) is a pumping UKG stomper featuring a catch vocal hook & succulently squelchy analogue bassline. Taken All My Time by Industry Standard features the soulful vocals of Abi, this is the DJ Deller Mix, copies of which have been selling for three figure sums on the resellers market!

The flip side opens with another high value sought after track, Strictly Dubs with Realise. Followed by a tune that received an extremely limited release back in the UK Garage heyday of 1997. I Need You Baby by Underground Solutions is selling on reseller sites for as much as £70!

Anthill Mob come with the goods on side C with Blinded, a must for any UKG DJ set, backed up with Special Request from DJ Double G.

We keep up the pressure on side D with Groove Committee’s track Heat + Soul, a prime example of UK Garage with pumpin' vocal snippets and funky sampled loops. Finally, this release closes with a Waiting by Scott Garcia which previously got a very limited vinyl release back in 1997.

PURE GARAGE COLLECTIBLE CLASSICS VOL 2 will be released on double vinyl on 16th December 2022!