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From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Muìsica Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagaìn comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alieniìgena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980's as Finders Keepers present Pagaìn’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21 st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisioì de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micro- memory in the hearts of an entire generation of Catalonian cosmonauts.

This special Finders Keepers edition comes complete with all of Pagaìn’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

This album is Acid Jazz’s tribute to an eccentric, a charmer, an unsung Sixties hero who still has soul. The character that is Graham Dee has lived one heck of a life, from surviving the blitzing of East London during WW2 to playing with Pink Floyd and Jimmy Page - Graham has done it all and this compilation hopes to look back at the story of his life through music.

Dee was the A&R at Atlantic Records, signing artists and producing their songs plus playing on sessions that included pre-Led Zeppelin Jimmy Page and John Paul Jones. One of his tracks, ‘A Love I Believe In’, narrowly missed being a Number 1 after Tony Blackburn proclaimed the single as his Record Of The Week, only for Blackburn to be playing the flip side, ‘The Bitter With The Sweet’.

Around this period Graham was working with the likes of Georgie Fame, Elkie Brooks and Mike Berry to name just a few and even filled in for the absent Syd Barrett on some Pink Floyd shows.

He eventually parted company with Atlantic after he damaged studio equipment whilst practising pistol fast draws and purchasing a hunting bow and accidentally firing it, flooding the office and terrifying the staff.

A lot of the tracks signal specific moments in Graham’s life that involve a lot of these stories. The stories provide the context for the tracks and this spreads a certain spirit throughout the compilation. Now in his seventies, Graham Dee is still writing, recording, performing and releasing solo records.

Fifth instalment in DJ F’s Prayers For The Long Life imprint under his “Ideograma” alias.

This new release showcases the unorthodox approach of the producer, moving between the electro and electronica styles from he’s very own particular approach.

Real Electro from a unique producer.

Ideograma is DJ F’s most electronic, uncanny and edgy alter ego, as showed before in releases for labels like A Harmless Deed, Frigio, Semántica or he’s own Prayers For The Long Life.

Hand stamped vinyl only release limited to 300 copies.

A record to be enjoyed to its very last second AM Jazz is set to place this songwriter where he just might, finally, receive the recognition he deserves; from unsung hero to a truly worthy candidate for being called up to join the City of Manchester’s ranks of great musical icons. Whether you prefer to know him as Mr. Roberts or simply call him Al, it’s time to become acquainted with the real Jim Noir.

Tossing his bowler onto the hat stand and sliding on his slippers, AM Jazz sees ‘Jim’ putting his feet up whilst Alan Roberts takes the lead. A creative masterpiece for the record player and the mantlepiece, it’s a multi-layered album that features close friends including those dearly departed, and is his truest record to date, by a songwriter painting his own hypnotic Portrait of the Artist as a Young Man.

“I haven’t 'felt' like Jim Noir for a long time. I’m not sure I ever did; it was a construct of other people’s imaginations,” reveals Al. “AM Jazz is definitely the kind of music I make generally. It harks back to when I started making music years ago and didn’t worry about capturing a particular style. It will be nice to show people more of that.

It's the best album I've written; real hypnotic minimalism, the good stuff!” 15 years since he recorded the first ever 'Jim Noir' EP, AM
Jazz is the record all Noirheads won’t be surprised Al had inside him.

Letting the Beatlesesque stylings of his most recent album Finnish Line be (5 years ago no less), AM Jazz suits the Noir repertoire of his catalogue so far and is another homegrown offering which sees the Daveyhulme composer tinkering in his suburban Manchester studio once more, with the magic of his computer work sorcery, analog and tape recordings.

“For this I went back to the slightly more haphazard way I wrote my first album, Tower Of Love, wherein I’d use things in front of me, or a bit wrong like headphones for a microphone, to make the most Hi-Fi Lo-fi album ever.”

Whilst a brief disappearance of Jim’s online persona may have provoked bleak theories as to his whereabouts, Al had little time for digital distraction. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analogue house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith with his long-awaited 'The Planets' project; “I’ve been writing in dribs and drabs when I feel like it,” Al says. “I used to write all day everyday but it’s a lot harder now I’m (feeling) over 100 years old.” Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard’s film Eaten By Lions.

Performing all AM Jazz’s instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, ‘Hexagons’ features 'Phil Anderson' and Mark Williamson singing and playing “legendary OTT guitar solo” respectively. Meanwhile the orchestration of ‘Peppergone’ waltzes like a beautifully romantic ode to Beethoven’s Moonlight Sonata – a tribute to dearly departed best friend 'Batfinks' who originally wrote the chords in his song 'Peppercorn.' “I hope he doesn’t think it’s shit,” Al jests. Listen closely and you may even find a few unsuspecting celebrity guest appearances as, perhaps, it could be the very first album to feature soundbites of podcasts sneaking onto the recordings. “I will have a podcast on if I’m recording; Adam Buxton, Athletico Mince, Frank Skinner or Richard Herring… I’m sure some mics will have picked them up, like in the old Tower of Love days,” he says referring to his breakout debut.

Culled from around 50 tunes AM Jazz moves like the time of the day, from dawn to night, stirring from the pop of ‘Good Mood’ and ‘Upside Down’s Beta Band groove. “As the album was playing, I imagined this smoky backstreet with all those neon signs outside clubs at about 4am,” Al says. Mellow ‘TOL Circle’ is like Percy Faith’s Theme From A Summer Place synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al’s curiosity, and the album plunges into a vast chasm of instrumental exploration with ‘Mystermoods,’ visiting Japan’s funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, ‘Eggshell’ is like an undiscovered gem from Angelo Badalamenti’s cutting room floor, the Panda Bear shimmer of ‘Lander’ is where blissful positivity and sadness meet, about another of his friends who left the world too young. “By the album’s close, its nearly time to let go and enter the ether,” he says of the album’s story. “Like one would do when they take their final sigh on this earth.”

Matasuna Records starts the new year 2020 with a brilliant release, featuring two contemporary tracks by Paris based Afrobeat band Batunga & The Subprimes, available for the first time on vinyl.

Batunga & The Subprimes was founded in Paris in 2009 by musicians from different backgrounds, united by the will to mix traditional African music with other elements (Latin, Jazz, Second Line and even Rock) and to bring this explosive mix on the streets & on stage. After many shows all over Europe and beyond, their first official album Man in the Field was published in 2017, followed by their EP Let dem In in late 2019. Matasuna has chosen two extraordinary cuts of these self-released albums to release them on vinyl for the first time.

Gates Of Ouantou from their EP is a great tune that sets the bar for contemporary Afrobeat and has all the ingredients for a timeless classic: the arrangement, the instrumentation and the interplay of the seven musicians in the song are excellent and will immediately draw you into its spell. A real gem and great tune!

Man in the Field on flipside is a cut of their first official album. Unusual is the use of a banjo in an Afrobeat song but not surprising that this fits in very well and also shows that classical structures can be broken up and developed in a new approach/context. Another great piece of this extraordinary band that has been operating under the radar - until now!

German cult band Bohren & der Club of Gore release their eighth studio album via PIAS Recordings. The band have built a loyal international fanbase on the back of their trademark ‘Doom Jazz’ sound and count musical icons such as Mike Patton and Stephen O’Malley among their fans. Strictly instrumental, this band and their sound have the healing power to survive these hectic modern times.
For fans of Melanie de Biasio, Sunn O))) and the soundtracks of David Lynch. The band played two sold out shows in London’s Round Chapel recently and will tour the UK again in 2020.

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

4Weed Records is very grateful to announce its new 12inch vinyl release.
Featuring Higher Regions’ boss Mighty Prophet outta Italy and the young and highly talented Baodub outta Spain.

On A side ‘Cradle Of Civilization’, Mighty Prophet shows his hi-quality dub producer’s skills. Played by King Shiloh as last tune in many dances, this track and its dub side fit perfectly in your heavy dubwise selection! Meditative melodies and spacey arrangements. Just powerfull!

B side ‘Echo Cave' arrives with an incredibly potent sub-line, combining tribal percussions, ancestral echoes and superb drum work to provide an energetic vibe. A jewel by Baodub!

Sam Goku's music showcases bonds of ambient, acic, house, techno and melodies. It's perfect for both club environments and home listening. The modern production style in combination with old-school elements/non-repetitive vocal sample work give Goku's music a unique, trippy twist that is topped off with Chinese percussive instrumentation.

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label. Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude
Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau. This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey
or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann
Pacaud)

D. Carbone is back on its homonymous imprint with a Theme Ep 'Back To The Empire Of Hardcore'. After the 2016 Ravers EP, here the artist make a second call to push a movement is coming back on all its power but in a modern key. The EP figure 2 remixes One from the Queen of Techno 'VTSS' and one other from the Hardcore master '14Anger'.

On The A1 the entitled track is a new hardcore wave gem, a robotic voice singing in a subdol way back to empire of Hardcore, lead and sirens create the atmospheres over a marching beat. This track aims to be a classic for the New Hardcore wave.

A2 presents VTSS remix. The queen of Techno after it's debut on REPITCH Recordings with the killer Identity Process EP and the amazing Atlantyda on Monnom Black is ready to show a Techno/EBM remix with its remark bassline, a strong kick and massive voice textures, make it an instant classic!

B1 is the time of French Raver '14Anger' its remix is a mesmerizing of Power and its Hardcore roots are shaped at its best. Percussive synth sequence chosen as the main groove, Melodic bassline is the main focus here till the amazing lead comes in to destroy every dance floor!

To Close, The Vinyl is 'Raver Killer' a powerful doom Techno track. This track is not for the fainted hearts, inspired to the 90's doom rave with modern touch Powerful kick, distorted model D's bassline, hi-pitched voices, and resonant percussions make it a big room track that can't miss in your bag and perfect choice to close this vinyl.

As Digital Bonus ' The Rhythm of Acidcore' is an Hypnotic Acid Banger. Model D bass and 303 acid sequence are the main focus here, accompanied by a smashing beat is the perfect track to stand along this collector EP.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney.

Since relocating from Amsterdam to Bergen on the Netherlands’ north west coast, Tom Trago has gone back to basics. Every day he jams out tracks in his home studio using a small selection of electronic instruments, drum computers and effects units, a process that allows him to quickly capture ideas, emotions and the intense moments he experiences while making music.

It’s these diverse and sometimes surprising musical moments that will be showcased on Trago’s new DIY record label, Jong Nederland. The imprint is named after the building where he now lives and works, an historic and storied place that has been home to artists of all descriptions since the 1960s. Each vinyl release will feature tracks made by Trago using his improvised, straight-to-tape technique, packaged in handcrafted sleeves illustrated by internationally renowned Dutch artist – and fellow Bergen resident – Pieter Bijwaard.

The Jong Nederland story begins with two tracks of undulating, slowly shifting dancefloor voodoo rich in crunchy drum machine hits, lilting electronic melodies and instinctive dancefloor warmth. On the A-side you’ll find “Whisper”, a hypnotic but fluid affair where hushed melodies tumble down over off-kilter polyrhythmic machine drums, spaced out effects and bubbly, ever-changing analogue electronics.

B-side “Belltower” sees Trago up the tempo a little and bounce us towards the farthest reaches of the galaxy. Utilizing a rubbery rhythm track full of sturdy but supple kick-drums and hissing cymbals, Trago layers up fizzing synthesizer lines, poignant minor key chords, wiggling acid-style motifs and starburst electronics to fire the synapses and stir the senses. Like its’ A-side companion, “Belltower” gently twists and turns throughout, reflecting the real time, hands-on changes made by its creator during the spontaneous sessions that led to its creation.

Releasing his first ever vinyl release 'El Sunset' on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Intricately constructing his way around the parameters of emotionally-lead, highly atmospheric electronic music, Ricardo has brought his sound forward to grace the rosters of Jennifer Cardini's, Correspondant, ESP Institute and MUSAR Recordings. Continuing to extend his already significant discography, he now returns to MUSAR Recordings for a third time with the 'After The Movie' EP.

Ricardo's 'After The Movie' EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by MUSAR Recordings label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label.

"This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from MUSAR found it in an old podcast; it really takes me back to those first steps in recording music." Ricardo Tobar

Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. 'After The Movie' presents the experimental ambience synonymous with his early works, whilst 'Parques' brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. 'Regain Your Power' represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favour of tougher 4x4 elements, allowing his machines to run riot.

"The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Ricardo Tobar

Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley a.k.a. Plaid. Reworking title track 'After The Movie', they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.

REPRESS as the original release from March 2016.
Records opens on a Bllasting Rave Techno. Acid & Loud kcik!
Then the records show his true face: faster and more acidcore thing... To finish the EP you'll get an excellent 150 BPM acid mystic track!

21-year-old New Zealand musician Arjuna Oakes's debut EP,
The Watcher, is a showcase of his ability as a singer-songwriter, instrumentalist and producer, and a testament to his depth of engagement with music. The first two tracks on the EP fit neatly
within the jazz-infused soul music landscape he is quickly becoming part of, but the latter half of the EP is far harder to categorise.

Featuring instrumentation from some of New Zealand’s most exciting young jazz musicians, The Watcher explores a wide variety of themes and musical ideas, with Arjuna’s charismatic soul vocals and robust sonic palette serving as a connective thread. From big social issues to personal relationships and internal self-discoveries, across The Watcher, Arjuna takes his cue from the title track and exploration of mass surveillance, and it’s relevance within our everyday lives.

This watcher theme continues throughout the rest of the EP, with the stories told rendered as if being observed by an outside force. Decorated by cinematic soundscapes, hypnotic grooves, creative improvisation and catchy melodies, Arjuna's debut is a test palette for his future projects, one that makes his enthusiasm to develop and explore themes and style in song abundantly clear.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Named lovingly after the venerable boozer from Only Fools and Horses, Interpret 'The Nag's Head' is the sonic moniker of Brighton artist Stephen Maskell. Combining on the fly recordings, kitchen sink instrumentation and addictively constructed beats, Maskell's music is as one customer puts it - at times moving, at time hilarious and sometimes just great dance music. Following a trilogy of tapes, 'ENTROPY NOODLE' is Maskell's first LP proper, and signals a maturation of sound - bending, twisting and manipulating synthesis to explore every microtonal corridor of the sonic spectrum.

Kicking off 2020 in style, Life And Death welcome Madrid based groove maker Bawrut for some of his distinctly off kilter brilliance.
Italy born Bawrut makes warm, heartfelt electronic music that crosses the musical spectrum, doing so with a true left of centre perspective. He imbues his productions with weird and wonderful sounds and an exquisite sense of craft that make them both unusual and engaging. He has done so on the likes of his own Silencio label as well as Ransom Note and PETS Recordings and has become a mainstay of the DJ circuit as a result. Next to high profile shows at places like Nuit Sonores he has also toured as far afield as Vietnam, and here he brings some worldly perspective to this latest for DJ Tennis’ always cultured label, Life And Death.
First up is 'Rollin'', almost ten minutes of synth based excellence that takes you on a real sonic adventure. The drums are firmly rooted and hypnotic while the various pads up top unfold like aural fireworks. It's a tense track that never lets up and keeps you locked for the epic duration. Equally fantastic is 'Terza' with its twisted, tortured synth lines and vocal yelps all bringing real drama to the deep and rolling drums. It's a turbulent track to bring real edginess to the club. Lastly, the grinding 'Drum Beat' has a menacing bassline and tribal vocal stabs cut up with rave sirens. It's a sweaty, strobe lit monster that takes you to the heart of the dance floor.
These are three perfectly slow-release but high impact tracks from this ever more vital talent.

smokey vinyl / label sleeve / incl. dl code

Next on the label that only releases tracks at One Hundred and Seventy Five beats per minute, come two tracks that are quite different from one another.

"The Opposites" strongly relies on the contrast between melody and extremely energetic percussion, tied together by the voice of a girl who wonders how close two people can get without triggering "their crazy". The track's friendly atmosphere almost makes it a Crossbreed love song of sorts.

The much harsher flip side of this release entitled "More Primitive" deals with a different kind of issue: what happens when people get pushed hard, forced to act on instinct... the moment their true, often damaged, selves are revealed.

The seventeenth release on One Seven Five is proof that The Outside Agency still has a lot more tricks up its sleeve, showing the world what Crossbreed is all about.

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

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

The mostly anonymous producer FSS joins Veyl with ‘MMXX_FFS’, a collection of nine raw, mangled numbers that manage to make lo-fi sound hi-fi. Built in moments stolen from working with DIY punk bands and artists producing for Warp, UNO, True Panther, Lucky Me and Tri Angle.... Originally from New Mexico, now living in London, with NYC on the horizon, FSS is no newcomer, and this isn’t your usual debut.
Inspired by a need to release the rage and disillusionment brought on by the extreme shit show the world has become, the writing of ‘MMXX_FSS’ — “it’s nearly 2020, for fuck’s sake” — doubled as a cathartic process for the artist, providing much-needed relief from the constant struggle of living on this planet.
Urged to push into the wild and off the beaten path, the record’s sound is iltered through an ongoing battle with tinnitus, a heavy fascination with distortion, and a treasure of inspired electronics. Memories of clear, bright landscapes play like loops, bombarded with the shock and suffering of urban action. Based on the constantly vacillating reality between moments of familial bliss to existential terror in white hot flashes, ‘MMXX_FFS’ is a snapshot of this process. Generating more.
FSS’ debut is out this December on cassette and digital, as always featuring artwork by Tomaso Lisca.

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

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

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

“Please Wait“ (Ta-ku & matt mcwaters) releasing their EP „Black & White“ featuring soon to be mega star Masego and others via 823 & Jakarta Records. After releasing last year’s very successful tribute-record “25 Nights for Nujabes” (almost 13 mio. plays on Spotify to this day), Perth-based artist Ta-ku finally returns with brand new music!

... Please Wait is the culmination of numerous online exchanges and years of sharing voice memos, stems, musical ideas & TikTok links between Ta-ku and Canadian producer matt mcwaters. Their cathartic approach to this body of work has been more about self-expression than anything else and has culminated in an EP that covers a range of issues and experiences from different times in their lives.

While the 1st single features Jamaican-American multi-talent Masego and will also have a video, the 2nd single features up & coming singer/songwriter Alayna. Ta-ku’s 823 label represents the appreciation for the people/ideas/places that inspire and push us forward.

The artwork is shot by the artists themselves and each release has an accompanying photo zine that acts as a visual story to compliment the music being showcased.

iven Jones’ rather slack approach to track titles (both being consistent with and sometimes even just supplying them), it’s a bit of a relief to realize that two tracks with the same name are indeed related. In the case of “Arab Jerusalem”, which makes up nearly half of the newly-released Lalique Gadaffi Handgrenade, that kinship is immediately apparent even though both tracks are clearly their own experiences.

Released as the first track on the Minaret-Spearker picture disc 7” in 1996, “Arab Jeruzalem” (spelling also sometimes being fairly slack) is 5:42 of effectively shifting dark ambience, wordless female vocals drifting over the hand percussion, chimes, and static of the track, with eventual conversational loops discussing... something underneath. The end of that version is especially striking for the way the woman’s wordless singing starts being sampled in such a way that it overlays the whole track (and, slightly, itself). The almost 24-minute “Arab Jerusalem” here might be called the Deer Hunter version of the same story, building with great patience and many more abstract detours towards what now seems like simultaneously an excerpt and, now, a climax. As with many of Jones’ more ambient tracks, the great length just lets it cast its spell more thoroughly and entrancingly.

The other three tracks, meanwhile, suggest some of Jones’ other work but never evoke them as directly as “Arab Jerusalem”. “Jordan River” is nearly as long (a second shy of 20 minutes) but strips out the vocal elements in its predecessor, focusing instead on a more active percussive workout (analogue and digital both) and a river of hiss running down the center of the track. The title track of Lalique Gadaffi Handgrenade might bring to mind the title of “Lalique Gadaffi Jar” from Libya Tour Guide (last reissued by Staalplaat in 2015), but if they’re sonically related Jones must have practically melted the other track to get this one. And the closing “Desert Gulag” (like the title track, a much more manageable length than the first two epic tracks here) bears a slight resemblance to “Negev Gulag” from 1996’s Fatah Guerrilla, here what was a piercing, repetitive drone is softened and looped over more of Jones’ percussion. The result is a well-rounded release that shows off many aspects of Jones’ sound as Muslimgauze, while existing (like many of these DAT tapes do) in conversation with much of his previously released work.

At the start of the year, Rocafort Records treated us to it's first roots reggae outing in the form of 'The Circle of Confusion' featuring the legendary Studio #1 vocalist 'Cornel Campbell'. ... Warm, feel-good, socially conscious, intergalactic dub.

We hoped for more, and finally it's here! Although slightly more digital in production, "Yesterday was History" cannot be claim to differ enormously from its predecessor. But hey, why mess with the formular when the results are pure and damn-near perfect ... ?

'The Circle of Confusion' are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound).
Recorded at Addis records in Geneva on the day of Mandela's passing, this track is another slice of dubby humanity-driven peace and love that buoyantly skips along aided by the sweetest scatting voice in reggae, (not showing any signs of it's 73 years), and all the appropriate studio space-age sound effects, harmonics and vintage keys. Modern roots reggae at its best, where the dub version is as banging and cosmic as the A Side.

... Medjool's story starts in 2010, at "Samar", it's a Kibbutz in the Arava valley in the far south of Israel, based on a unique, hippic and cooperative community. The band's four members met and lived there after their Military service. Being surrounded by musicians they started jamming together a lot, finding a joint creative language.

... In 2011, three of the band, – Ori, Nur & Aviram, moved to Tel-Aviv, trying their luck in the big city. 'Gilad' joined them in 2013 and the four friends became Medjool. The next three years were hectic with shows all over Israel, from small clubs to big festivals, gathering loyal crowd which followed the band everywhere. Nowadays, the band's members turned their energy to other musical projects, saying "we only took a short break which we're not sure when it'll end".

'Gbells' and 'Savana' are two energetic wild Afrobeat tunes.
The fact that the rhythm section comprises of a double base and percussion, grants 'Medjool' its unique highlife, groove color.
The guitar and saxophone travel through middle eastern to ethiopian melodies, suggesting the listeners the option either dancing or riding a camel in the desert, on your way to a flush oasis.

SOS: This two tracks on the 7", ... which were recorded in 2015, were the only music of 'Medjool', they had recorded professionally !!!!!

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

‘I Want You To Be Mine’ has all the hallmarks of classic 1960’s Rocksteady, an era which many refer too as the Golden Age of Jamaican music. Over the top of a live one-drop beat, cool & deadly sax and warm analog guitar & bass Deemas J rides the riddim in a ‘old time style & fashion’ whilst Rachel Wallace provides the perfect accompaniment with her gorgeous vocal. On the B-Side we have the deeper cut ‘Questions’, where Deemas delivers a poignant poem over Adam Prescott’s moody instrumental in the style of Linton Kwesi Johnson. Featuring live instrumentation from Harry ‘Papa B’ Bradford (Sax), Clifford Junior (Guitar) & Guillaume Metenier (Hammond Organ). As an integral part of the Reggae Roast Soundsystem team Adam has established himself as one of the finest selectors in the world. Initially with some early support and guidance from Mark Iration (from the Leeds based Iration Steppas), Adam was quickly recognised as one of the key players in the re-emergence of British Reggae, producing first class original songs featuring the likes of Cornel Campbell, Macka B, Sugar Minott, Ranking Joe, Rod Taylor, Johnny Osbourne & Earl 16 to name but a few. Add to that consistent play on BBC Radio One & Rinse FM plus huge support from Sir David Rodigan, featuring Adam on his ‘Best Of British’ show on 1Xtra, Adam has become one of the hottest prospects in the revival of soundsystem music. Deemas J has built a formidable reputation as a go-to MC & vocalist with equally genre-busting credentials; His background in Reggae & Jungle means that his lyrical skills and style holds no bounds. He currently works with 3 of the top London Reggae Soundsystems, Unit 137, Reggae Roast & Solution Soundsystem as well as running his own Sound Limey Banton Bass in Guernsey. He has released music on some very well known labels such as Irie Ites, Irish Moss & Tru Thoughts, which released the cult LP ‘Wrongtom Meets Deemas J in East London’. More recently his latest release ‘Muhammed Ali’ received fantastic support from Don Letts, Sir David Rodigan & Ras Kwame. His virtually endless CV boasts collaborations with everyone across the worlds of Drum & Bass, Old School, Garage, Reggae and Hip hop, including High Contrast, Andy C, DJ EZ and Nick Manasseh to name just a few as well as touring the world with Manudigital

This release from New Zealand based label “Headwound Recordingz” shows how the UKs influence spread around the world. These tunes sound like they are straight out of the 90s with loads of samples that “tip a hat” to the UK old skool. The massive “Dread Tune” takes samples from mid-nineties Stalone version of Judge Dredd and whips up a frenzy with some serious amens on steroids. 3 absolute belters on this EP that show off the style and production of this very special antipodean label!

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

Opolopo’s impressive musical career spans over more than two decades, covering the spectrum of Funk, Soul and House.
With releases on prestigious labels such as Om, Tru Thoughts, Local Talk, Z Records, Especial, and a DJ diary spanning destinations from London to Tokyo, he has the perfect musical pedigree to create the very best, blissed-out, beats.

Toolroom Records are proud to present three brand new exclusive productions from Opolopo ‘Sickla Side Push Shuffle’, Groovitational Waves’ and ’Aqua Lung’, all of which showcase his unique, signature sound taking you on an astute musical journey with interesting harmonic melodies and plenty of groove.

Since nearly a decade now, Italian born artist Antonio Marini is going through a sonic adventure known as Healing Force Project. Discreetly building up his musical blueprint, he slowly reached a cult status
as a visionary who is blending electronic music with free-jazz in an atypical, anarchic, spontaneous and original way. On „Sideral Escape“ the artist shows himself in his different facets ranging from ambient to jazz to techno.

Bristol’s Sydney returns to Black Acre with two Jazz infused cuts featuring saxophonist Guy Hobley and emerging guitarist Charlie J-W. One of Gilles Peterson’s Future Bubblers, Sydney is a live artist and traditional instrument enthusiast who debuted on Black Acre with a Swaziland inspired debut mini-album entitled ‘Ode to eSwatini’ earlier this year, showcasing an eclectic mix of broken beat and Jazz.

Now the Bristolian returns with two collaborations featuring two vibrant Jazz and Blues musicians - Guy Hobley on the saxophone and guitarist Charlie J-W. “With the record being South American influenced the titles and artwork are based on a garden in Mexico named Las Pozas. Paraíso meaning paradise and Dahlia being the native flower toMexico found in the Las Pozas garden" – Sydney Conceptualized during Sydney’s first session as a Future Bubbler using one distorted PA speaker in a room full of the new generation year 3 bubblers with Gilles Peterson present, ‘Paraíso ft. Guy Hobley’ flutters into place with shuffling percussion, reverberating piano fills and smooth sax melodies from Guy Hobley whilst underlying world instrumentation operates throughout, including bongos, claves and shakers.
Created in one afternoon alongside fellow band member and friend Charlie J-W, ‘Dahlia’ gives a warming aural experience with a Nina Leão vocal sample, cantering south American drums, a mix of traditional guitar strums, pedal hits and accordion strikes, all glued together with stylish synth stabs.

Support from:
Gilles Peterson,Jamz Supernova, Bradley Zero, Moxie, Horse Meat Disco

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

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

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

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

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

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

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

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

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

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

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

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

“The third part of our "Ode To The Soundsystem" is here and the abstract sound of the last Ossia album is no longer evident. The influence of the early Disciples 12"s shows up for the first time, with a Drexciyan connection happening on the b-side, creating one of the most lethal and militant 12"s that we have ever released. Ossia is back on Berceuse Heroique and we are very happy about it.”