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Reggae Charmers is the 1970 album by Lloyd Charmers, born Lloyd Tyrell. His career spans some of the most fertile periods of Jamaica's musical history. From the late-'50s era of Jamaican shuffle R&B and the subsequent ska boom, to the rocksteady and roots reggae of the late '60s and early '70s, Charmers made valuable contributions not only as a vocalist, but as a session musician and producer, as well. Charmers took up the piano in 1966. A few years later, he was an accomplished enough player to form a band of his own with a few friends. The band eventually backed Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques (Charmers would also spend some time singing for the Uniques). Buoyed by their reputation for laying down some of the rawest and driving rhythms of the time. Charmers is joined by Byron Lee and the Dragonaires on this record, that is a must for all true fans of vintage Jamaican sounds. Reggae Charmers is available as a limited edition of 750 individually numbered copies on orange colored vinyl.

Bad Man Possee is a classic early Eighties dub reggae recording by Junior Murvin, who made his name working with Lee ""Scratch"" Perry on his 1976 debut album Police & Thieves. This album features some stirringly hypnotic tracks to go along with the hit title track. ""Guitar"" is an eerie ode to Murvin's first guitar, riding craftily over a headnodding rhythm provided by Dread At The Controls studio musicians the Roots Radics Band. While Murvin changes speeds quite mercurially, from the love lost recollection ""Never Fall in Love"" to the politically charged ""Rebellion,"" the high quality of the music remains even throughout. Murvin's outstanding doo wop-inspired falsetto is a uniquely inspired nod to the R&B tradition as well as the stylings of ska, rocksteady, and dub. Murvin tops the album off with simply astonishing version ""Man Is the Fire."" Bad Man Possee is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

Die US Alternative Metal-Vorreiter MUSHROOMHEAD melden sich diesen Sommer mit ihrem neuen Album Call The Devil zurück. Call The Devil ist der Nachfolger des achten Albums und Label-Debüts A Wonderful Life (2020), mit dem die Horror-Ikonen in den USA große Erfolge feierten (Platz 2 der US Current Hard Music Albums Charts und Platz 8 der Current Rock Albums Charts). Außerdem war es das Debüt von Jackie LaPonza – der ersten Sängerin von MUSHROOMHEAD.

Nach zwölfjähriger Pause kehrt Gitarrist Dave „Gravy" Felton auf Call The Devil zurück und verleiht zwei der neuen Tracks seine unverkennbaren Skills. Felton hat in der Vergangenheit auf mehreren wegweisenden Alben von MUSHROOMHEAD mitgewirkt und gilt durch seine Arbeit an Klassikern wie „Along The Way", „Sun Doesn't Rise" und „The Dream Is Over" als einer der prägendsten Songwriter. Call The Devil wurde erneut von Mastermind und Drummer Skinny produziert und von Matt Wallace (Faith No More, 3 Doors Down) gemischt, der bereits für das Kultalbum XIII mit der Band
zusammengearbeitet hat. Gemastert wurde Call The Devil von Jacob Hansen, der für seine Arbeit mit Größen wie Volbeat, Epica und Arch Enemy bekannt ist.

In the early 1990s gangsta rap was becoming more popular. KRS-One took to the mic and continued to write socially conscious raps resulting in the hard-hitting 1992 album Sex And Violence which would be the fifth and final studio album under the Boogie Down Productions name. Produced by KRS-One, Pal Joey, Kenny Parker, D-Square, and Prince Paul, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the alarming drum-driven "Duck Down" and the funky-as-hell "We In There" got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty "Drug Dealer"; "Ruff Ruff", with scowling MC favorite Freddie Foxxx (aka Bumpy Knuckles); the grooving "Questions and Answers," and the frantic record industry track "How Not To Get Jerked." The album kicks off with an intro skit featuring KRS-One as a DJ in panic needing vinyl which at the time was a dying format while cassettes and CDs became the dominant format. Thirty-two years later vinyl DJs and Hip-Hop vinyl collectors no longer need to panic. Get On Down in partnership with Sony Music's CERTIFIED is proud to bring back to vinyl this underrated gem in the BDP catalog. Featuring one of the dopest album covers by American artist Robert Williams, Sex and Violence is pressed on colored vinyl and packaged in a gatefold jacket with full lyrics.

Für ihr 26. Album tauschen King Gizzard & The Lizard Wizard die Widescreen-Konzepte ihrer letzten Alben gegen die Intimität von sechs guten Freunden ein, die gemeinsam an ihrem bisher geselligsten Set arbeiten, das sie auf Wachs festgehalten haben. Für ”Flight b741” wollte King Gizzard laut Bandleader Stu Mackenzie ”etwas Ursprüngliches, Instinktives, mehr ’aus dem Bauch heraus’ machen - nur Leute in einem Raum, die tun, was sich richtig anfühlt. Wir wollten etwas machen, das Spaß macht.”

”Flight b741” zapft den amerikanischen Country-Rock der 70er Jahre an, mit dem sie alle aufgewachsen sind, sowie die Wurzeln des Garagenrocks, aus denen ihre mächtige Diskografie stammt. In den 10
zerklüfteten, glorreichen Songs, die King Gizzard mit ihren inspirierten Improvisationen, unnachahmlichen Grooves und einem einzigartigen Pass-the-Mic-Ansatz für den Gesang, bei dem jedes Bandmitglied seine Stimme erhebt und singt, die groben Skelette der Songs herausarbeiten. ”Wir haben eine Menge Spaß, aber wir singen auch oft über ziemlich heftigen Scheiß”, fügt Mackenzie hinzu, ”und treffen wahrscheinlich auf einige tiefere, universellere Themen als sonst. Es ist keine Science-Fiction-Platte, es geht um das Leben
und so. Aber die Platte ist wie ein wirklich lustiges Wochenende mit deinen Kumpels, weißt du? So richtig Spaß.”

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. His recording of ‘It’s Not Unusual’ (released in 1965) has been covered by a number of incredible artists including Cher, Brenda Lee, Glen Campbell and more. The song first resurged in the 90s when it was synced on ‘The Fresh Prince Of Bel-Air’ bringing the world ‘The Carlton Dance’, and many times since Along Came Jones, the debut album from Tom Jones, contains the monumental hit ‘It’s Not Unusual’ alongside a beautiful renditions of ‘Autumn Leaves’ and Spanish Harlem. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

***Limited Edition LP***

Lullaby for the Debris is the second album from Moses Brown of Institute’s solo project Peace de Résistance. Those of us who loved Peace de Résistance’s 2022 debut, Bits and Pieces, will be pleased to hear that much of what made that album so memorable—the glam-infused art rock sound, the gritty yet richly textured production, and Moses’s bluntly class-conscious lyrics—carries over into Lullaby for the Debris. Yet Lullaby for the Debris also sounds more refined, more timeless than its predecessor, with “40 Times the Rent,” “Coddle the Rich,” and “Ain’t What It Used to Be,” all built around chooglin’ Lou Reed-style riffs beamed in from the great rock and roll beyond. Elsewhere on the record, Moses’s arty side shines through, with “The Funny Man” and “Pay Us More” full of uncanny sounds that invite the listener to bathe in their rich sonic textures. “I Am” and “You Are Absurd” move into a new territory Brown calls “despondent funk,” their rubbery bass sounds and eerily progressive soundscapes evoking Station to Station-era Bowie, while the title track closes the album on a pensive note, landing somewhere between 70s minimalist composition and the mellower moments from Eno’s solo albums. The real strength of this record, though, is Brown’s ever-developing songwriting skills, which meld wry social observation and Crass-style confrontational politics to melodies you’ll sing along with for the rest of your life

Schwartz Songs is a collection of brand new recordings from the iconic
writer & composer Stephen Schwartz's greatest songs performed by the
West End's finest artists! Stephens career has spanned over 5 decades
and he is the recipient of x3 Grammy Awards, x3 Academy Awards, a
Golden Globe Award, x6 Tony Awards and an Olivier Award
This new album includes spectacular new recordings of songs including DELIVER
US and WHEN YOU BELIEVE (Prince of Egypt), CORNER OF THE SKY (Pippin), LET
THERE BE (Children of Eden), THE WIZARD AND I and DEFYING GRAVITY
(Wicked), COLOURS OF THE WIND (Pocahontas), BEAUTIFUL CITY (Godspell) and
much more.
The opening track Defying Gravity from Wicked, is stunningly performed by four
of the West End's leading ladies who have all played the role of Elphaba in the
West End production: Kerry Ellis, Rachel Tucker, Lucie Jones and Alice Fearn. The
spectacular version will be released as a single on 21st June.
Featuring a fantastic array of West End stars including MARISHA WALLACE,
TREVOR DION NICHOLAS, SAMANTHA BARKS, JAMIE MUSCATO, LUCIE JONES,
LOUISE DEARMAN, KERRY ELLIS, RACHEL TUCKER, BILLY LUKE NEVERS, JOHN
OWEN- JONES, OLIVER TOMPSETT, ROB HOUCHEN, HIBA ELCHIKHE, ALICE
FEARN, RACHEL JOHN, PETER JOoBACK, JAMIE LAMBERT, JORDAN LUKE GAGE
and EMMA KINGSTON
With the first part of the eagerly awaited film adaptation of Schwartz' Wicked
coming out this Autumn, this is a fantastic time to be celebrating so much of his
work, sung by the absolute best in musical theatre.

Kazuo Shiina, Hiroyuki Namba, Yoshihiro Naruse, Akira Inoue and other skilled musicians participated in Takako Mamiya's only album released in 1982,
a masterpiece representing 80's city pop, on clear sky blue vinyl. Limited re-release!

New Jersey producer, DJ and Inimeg Records head honcho Joey Anderson takes on the role of Obiaman for Obia Records 005. Well known for his deep and intriguing records Joey Anderson takes the label far into the night sky with Vanish EP. Accompanied by label owner Wendel Sield the EP sets to serve a variety for all tastes.

Anderson’s style of hypnotic rhythm and cosmic synth work finds common ground with the labels African background in “Masked Ones”. With haunted vocal shots and elegant drum work. Minimalistic use of elements fill the track exceptionally well.

“Vanish”, the records main cut fills any ear with an astonishing panned bassline accompanied by loosely layered hihats. Strange and eerie pads float around the bassline, while piano chords give structure to the music. Followed by “Escape” this well-crafted jam explores the deep even further. Jumping synth lines that sound from another planet edge the depth of Anderson’s amazing musical ear. The track is layered by dirty low frequencies that suck you in with weird noises and atmospheric melodies.

Orbiting an icy moon Wendel Sield's “Cultivate” shows itself at the end of the EP. A pulsating synth line dominates the track main character. Intricate percussion patterns drag the track along to a dirty mono sequence. Big open snares makes this a track a slap in the face to its listener.

Lange vermisste Hip-Hop-Scheiben sind endlich wieder auf Vinyl erhältlich - A TRIBE CALLED QUESTs "The Low End Theory" mit den Kult-Tracks "Check The Rhime", "Jazz (We Got)" und "Scenario" gilt weithin als ihr Meisterwerk, und dieses einflussreiche Album ist außerhalb der USA seit vielen Jahren nicht mehr auf Vinyl erhältlich gewesen. Erscheint als 2LP-Set auf schwarzem Vinyl.

Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style.

Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label.

Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’.

The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance.

After promising to release only five studio albums under his own name, Simpson marks the beginning of a new era with Johnny Blue Skies and the release of Passage Du Desir. Out July 12 on his own independent label, High Top Mountain Records, the album includes eight songs produced by Johnny Blue Skies and David Ferguson and recorded at Clement House Recording Studio in Nashville, TN and Abbey Road Studios in London, England.

Yogisoul returns with his first album in 8 years, a timeless throwback offering & an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with deep G-Funk grooves, skits, and raps provided by US-based rapper Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

The first track they worked on - “94 Heavy - wastes no time setting a vibe and transporting you back to 1994. It’s an undeniable head nodder, with smooth horns & deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients to classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows down & a jam that slaps!

"Everybody Funk is the first album from Japigia Records, which launches into 2024 with great ardor. This is the first splendid house music album by Pasquale Fanelli, an industrialist from Bari with boundless passion for music and for the show in general, whose greatest merit is of having created a working group full of ideas and talent: the IAPIGI team. The DJ-arranger Paky Fanelli - so called by his friends - with the help of the multifaceted artist-DJ Fabio Ricciuti has dug extensively into the hinterland of the Puglia region in search of his own roots to find the right synergies and give meaning and value to the context, to the habits, to the organization of a city generous in history and culture like Bari, which crossed the ocean via the Adriatic Sea and the Mediterranean. Thanks to IAPIGI we have therefore arrived in New York where Danilo Braca captures Paky's work and shapes it with excellent Italian taste, which is exactly that of a DJ resident for several decades in the Big Apple where he generates surprising and always current sounds. Although radically different, "Daytona" and "Everybody Funk" represent some of the most exciting Italian house songs of this season. In addition to the skilful remix of these two songs, it is worth mentioning "The Edge", whose main melody develops slowly. Once again Danilo Braca has raised the bar and changed the rules of the game. Good boy! The experts Qubiko & Fabio Ricciuti bring a worthy close to this first work by Paky Fanelli with a short piece, originally entitled "Disaccord" and then merged into "Accord", with the aim of putting everyone on the same wavelength. on the same level or musical chord. Comes with an amazing embossed cover too."

Prepare to embark on a sonic journey that will ignite your senses with Incognito's highly anticipated remixes from the album, 'Into You.' This captivating collection reimagines 2 of the band's most iconic tracks with a blend of soulful house and funk. Groove to the infectious rhythms of 'Nothing Makes Me Feel Better,' reimagined with pulsating keys and soulful bassline. 'Keep Me In The Dark' is given a soulful and atmospheric reimagining, its lyrics floating over a thumping bassline. Incognito's remixes are an electrifying fusion of old and new, showcasing the band's enduring creativity and ability to blend genres seamlessly.

A limited vinyl pressing of the sixth album from the classic L.A. punk ska band! On purple blast vinyl!

Right from the start when you hear Feldmann’s voice sing "Everyday is just the same" before the guitars, bass, and drums kick in on opening track "One More Time," you instantly know that Goldfinger are back as good as ever. The elements of desire, passion, and punk in those 5 words instantly tell you that Hello Destiny is going to be different to Disconnection Notice. The songs on the album go from strength to strength. From the slightly heavier song of "Handjobs For Jesus," to the upbeat Ska of "Get Up," to the sweet heartfelt acoustics of the bonus track "Julian," this is an album that will be up there with the best of the Goldfinger records. Like having sex for the first time, it will be remembered.

Everything, the debut album from Chicago quartet Bnny, may as well be a field recording taken from the lone country of grief. Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent. In the same vein as Sky Blue Sky-era Wilco or the harrowing vulnerability of Tomberlin or Helena Deland, Viscius’ songwriting is evocative and intentional. A longstanding member of the Windy City music scene, the album was produced by Dehd’s Jason Balla, and the sparse arrangements pick apart complicated truths while feeling both timeless and transcendent. Everything is out in September on Fire Talk (Dehd, Deeper, Mamalarky).

2024 Repress

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we've come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it's daunting to learn that this record was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco's neck and neck contender to New York's Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla's versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog's marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These concerts' are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and 'alternative' musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes ambient' and futuristic' utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental records' of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne's work, a vast vault of previously unpublished non-records', will already know how the creative politics in her art of being' simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last first' with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these non-records' that evaded the limelight for almost half a century. You can't write history when you are too busy making it. With fresh ink in the bottomless well, let's start at the beginning. Again. You, are invited!

"Million Dollar Baby" ist Pixeys bislang ehrgeizigstes Popprojekt, das sie zusammen mit Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) und Rich Turvey (Rachel Chinouriri, Blossoms, The Coral) produzierte. Das Album folgt ihrer Reise der Selbstfindung als Künstlerin und dem Abwerfen damit verbundener Illusionen. "Million Dollar Baby" kombiniert Pixeys Liebe zu 90er Breakbeats mit ihren Skills als Popkünstlerin und -Produzentin, probiert und interpoliert einige ihrer Lieblingssongs, um nicht nur die Lücke zwischen alten und neuen Sounds zu schliessen, sondern einen völlig neuen Sound zu schaffen. Pixey erhält enorme Unterstützung von den britischen Popmedien und zierte hierzulande das Cover von Spotifys "Indie Brandneu" Playlist.

The mash-up maestro sets his sights on Jamaica for this 7 track EP of dubbed out pop. THE WAILERS play back up for ADELE, DUA LIPA, CHRISTINA AGUILERA, and DURAN DURAN, while AMY WINEHOUSE & THE PRETENDERS join forces to become a ska super group. Hand-stamped white label

They’ve been labelled everything from pop punk to emo to post-hardcore, but Calling All Captains cover all of that and more on (e)motion sickness, their explosive and expansive new collection. (e)motion sickness marks the culmination of that growth to-date, building atop Calling All Captains’ rock-solid musical base with an even wider array of sonic influence and lyrical prowess, and ultimately, making the essence of what they do rather difficult to describe. Really, you just need to listen for yourself.

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024

Dive into the soulful world of Little Beaver with the long-awaited reissue of his 1972 debut album, Joey. Released on Cat Records, this album showcases the unmistakable talent of a musician who not only crafted the unforgettable guitar riff in Betty Wright's "Clean Up Woman" but also delivered the #2 R&B hit "Party Down."
Joey stands out as a masterful blend of Rhythm & Blues, Soul, and a touch of Funk & Blues, enriched by lush orchestrations that elevate each track. The album features the enchanting title track "Joey," which was produced by Betty Wright, "I'm Losin' the Feelin'," later covered by Gwen McRae, and the deeply evocative "Katie Pearl," adding layers of soulful resonance that speak directly to the heart.
Before his solo breakthrough, Little Beaver was a revered figure in the Miami Soul scene, known for his work as a bassist and guitarist since his early teens and as an arranger who brought magic to the music he touched. This release not only showcases his formidable skills as a guitarist but also highlights his deep, intuitive sense of songwriting that draws listeners into the emotional landscapes of his songs.
This reissue isn't just a return to the shelves; it's a celebration of a profound musical legacy that continues to resonate. Whether you're a long-time fan or new to his music, Joey by Little Beaver is an essential addition to your collection, offering a timeless journey through the depths of soul music. Don't miss the chance to experience this seminal album, beautifully remastered to capture the original warmth and spirit of Little Beaver's early work.

In Nordafrika ist eine Ziara eine spirituelle Zeremonie, zu der die Menschen kommen, um Dämonen zu exorzieren, ihren Körper zu reinigen und lautstark ihre Verbundenheit mit Gott, dem Propheten und den Gottheiten, die ihn zu verkörpern behaupten, zu bekräftigen. Eine berauschende Ekstase, die an ein Voodoo-Ritual erinnert. Die besten Meister dieser Art von Zeremonie sind die Gnawa. Sie stammen ursprünglich aus Schwarzafrika, vor allem aus dem Sudan und dem Senegal, und wurden von Tuareg-Räubern in den südlichen Maghreb verschleppt, um sie als Sklaven zu benutzen. Nach mehreren Jahrzehnten der Sklaverei gelang es ihnen, sich aus dieser schmerzhaften Situation zu befreien, die sie in einigen ihrer Lieder zum Ausdruck bringen. Vor allem aber zeichnen sich die Gnawa durch ihre bezaubernde Musik, ihren Tanz und ihre Rhythmen aus, denen therapeutische Wirkungen zugeschrieben werden. Vor allem in den letzten Jahren hat die musikalische und rhythmische Tradition der Gnawa, die sich sowohl an die Arabesken des Nahen Ostens als auch an die afrikanische Perkussion anlehnt, unter den marokkanischen Künstlern der neuen Generation eine deutliche Wiederbelebung erfahren. Doch bisher ist es nur der sehr populären Gruppe Nass El Ghiwane gelungen, mit Talent, Treue und Authentizität den Geist der Gnawa wiederzubeleben, wie dieses Album beweist. Also schließen Sie sich ihnen an und lassen Sie sich in Trance versetzen.

Bringing together the undisputed talents of Nigerian percussionist Aleke Kanonu and soul legend from Alabama, O.C. Tolbert, this 12' created quite the buzz when it was released in New York in 1982. Shops and leading DJs were clamouring for it, but short supply saw it disappear into obscurity. The A-side, 'Happiness' is an uptown style Gospel ballad where Tolbert's gravelly, soulful voice channels years of hurt an pain. The B-side, 'Nwanne, Nwanne, Nwanne', is an Afrobeat disco monster that rattles along on the back of Kananu's awesome percussion skills. Both tracks were written and produced by Jack Taylor, a producer, songwriter and purported gangster from Harlem and released on his own label. This reissue comes courtesy of the good folk of PMG, purportedly cool guys, based in Austria. - Peter Moore,

Paketo Wilson's 'Immigration' is a hymn to freedom from the Kingston, Jamaica-born artist. It first arrived on the Child of God label in 1982 and is one of the self-declared "positive rastaman"'s finest tunes. He was introduced to music by his father and through watching them play managed to pick up his own skills with no formal turning. His career began at age 16 when he played concerts all around the island with the New Vibration Band before going solo with Daddy U-Roy's King Stur Gav Sound System. Now back in its original form, 'Immigration' is a tune that remains as relevant now as ever.

Ten bad boy digi riddims from the myspace era by Copenhagen’s Maffi crew, dubbed out into 3D space by disrupt in 2024. Raw, minimalist CyberDancehall at its best, nostalgic and oddly futuristic at the same time, this album is quickly becoming RoboCop’s favorite playlist when going to work.
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Maffi Promotions a.k.a. Maffi Boys come straight outta 1773 Kbh V, Copenhagen, Denmark. Originally founded in 1990 by the two homeboys, lazy body Moog and Junior the Rat, Maffi Promotions have been a steady producer of simple digital riddims for years. Hanging out in the streets of Hummel City Junior & Moog used to entertain their friends with the primitve riddims of the Maffi sound. Not knowing that they would do the exact same thing fifteen years later, they continued to believe that one day they would move up the ladder, break out of the underground and reach for the stars.

Now, after finally adopting a little sense of realism, the two homeboys have realised that stardom is nothing compared to spamming people on myspace. So the two stoners decided to get a couple of friends together and turn up the bass online. Together with their sound crew FIREHOUSE, Maffi deal nuff weed and gyals!

Maffi Boys are very dedicated to the art of playing Sensible World of Soccer, rolling weed joints with Manitou tobacco and keeping it real in a Vesterbro-style. So watch out! And don’t test! We’ll be putting up new riddims on a weekly basis. We have nuff things brewing – including a delicious chicken!
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Growing up in the streets of Hummel City, Vesterbro, MOOG learned the pleasures of sleeping late, playing Sensible World Of Soccer and picking up hot gyals at an early age. He has spent most of his life trying to master these crucial skills. Taking a break from the dog race, Moog is currently focused on reaching a higher understanding of reggae-science and weedology.

JUNIOR experienced the necessity of rolling well-made spliffs at an early age. Incorporating the aestethic heritage of Scandinavian design, he has spent most of his life perfectionizing this old and traditional art form. Junior is currently taking his ph.d. in digital reggae by buying crates of 80’s 7″ and selecting for his sound system Firehouse.

The inspiration for ‘Skin Breaker’ comes from my early years of watching sci-fi films. Howard has always been fascinated by them . As a huge fan of 80s beat tracks and 80s sci-fi, Howard aimed to blend those influences into this project. This project is a tribute to the sounds and styles that have inspired him.

In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"

Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.

Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.

a a1 Meet Me on the Equinox - Death Cab for Cutie - 03:43 -
b a2 Friends - Band Of Skulls - 03:10 -
c a3 Hearing Damage - Thom Yorke - 05:04 -
d b1 Possibility - [Lykke Li] - 05:06 -
[e] b2 A White Demon Love Song - [The Killers] - 03:34 -
[f] b3 Satellite Heart - [Anya Marina] - 03:33 -
[g] b4 I Belong to You (New Moon Remix) - [Muse] - 03:12 -
[h] c1 Rosyln - [Bon Iver & St. Vincent] - 04:49 -
[i] c2 Done All Wrong - [Black Rebel Motorcycle Club] - 02:49 -
[j] c3 Monsters - [Hurricane Bells] - 03:16 -
[k] c4 The Violet Hour - [Sea Wolf] - 03:32 -
[l] d1 Shooting The Moon - [OK Go] - 03:18 -
[m] d2 Slow Life (with Victoria Legrand) - [Grizzly Bear] - 04:21 -
[n] d3 No Sound But The Wind - [Editors] - 03:48 -
[Alexandre Desplat] - 04:09 -

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

Experimental black metal from Brooklyn featuring members of Pyrrhon, Krallice, Sigur Rós, The Glen Branca Ensemble, Steve Reich. Recorded by Colin Marston (Dysrhythmia, Krallice, Liturgy). Follow-up to the bands well received 2022 debut Aveilut. The Promise Of Rain, the sophomore album of the experimental black metal band Scarcity, is an embodiment of the hard-to-believe truth that burdens are easier to bear when distributed, a realization Brendon Randall-Myers (conductor of the Glenn Branca Ensemble) grappled with extensively while writing this record. This is a sweat-drenched album about dispersion, about spreading, about the collective relieving of burdens through shared experience: one doesn’t have to go through everything alone. When Scarcity’s debut album Aveilut was written in early 2020, Randall-Myers and vocalist Doug Moore (Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) never expected to be able to play their songs live. The cathartic experience of playing something that came from a place of isolation out to people in a live setting is the root of the intensity in The Promise Of Rain. The Promise Of Rain begins where the craziest climaxes of Aveilut end, and is the first Scarcity record to include Tristan Kasten-Krause (Sigur Ros, Steve Reich, LEYA) on bass, Dylan Dilella (Pyrrhon) on guitar and Lev Weinstein (Krallice) on drums. Rather than building density with the quasi-orchestral layering on Aveilut, Scarcity challenged themselves to document what five people in a room could do, recording most of The Promise Of Rain in one or two takes, capturing the physical effort and urgency of a live performance. Scarcity forges a completely fresh sound in The Promise Of Rain with their alarming guitar work and melodic arpeggiating, shedding dead skin and breaking ground with sheer vulnerability. The lyrics for The Promise Of Rain were inspired by a trip Moore took to the high deserts of southern Utah in 2023. “To thrive in the desert is an act of abnegation—” he observes, “you do right by the land and receive its gifts, or it does away with you.” The necessity of adaptation is as evident in the desert as it is to the landscape of the human experience. The transformation of ideas and beliefs, the grief of losing relationships that had to end, and the fear involved in forming new ones under the grip of mental illness is conjured over and over again on this panoramic album.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

In the night, the cadenced orientation of the strobe lights sketches geometric trajectories in the dark room. The icy condensation from the cocktail glass drips onto her fingers, caresses her nail polish, grazes the side slit of her evening dress, and evaporates before it touches the floor, the dance floor.

Her body, that of a femme fatale, stands between the clenched bodies of the dance floor. A beam of light pierces the darkness. It illuminates a Mediterranean chest – stronger than the bridle imposed by the buttons of his shirt – adorned with golden necklaces: symbols of faith turned into instruments of seduction. Sin is the antechamber to holiness.

She turns around, that’s him: Marcelo. She had long heard about him. Their gazes, perfect diagonals, get locked in the crowd. A cheeky smile reveals a golden tooth, the lights a shrouded sex bursting forth. His wink is a magnet. Often, words are a mere formality. Let’s make out.

Que rico.
Que lindo.
Te quiero.

For over a decade, COHN has been crafting his unique blend of house music. The DJ and producer, from London, combines crisp beats and rich synth lines to ignite speakers and dancefloors with his disco and Italo-infused creations. Now, he arrives at Bordello with a new EP, “Kafka in the Sheets”, featuring four tracks.

The EP kicks off with “Margiela in the Streets”. Driven by a steady snare and a pulsating arpeggiator, a soaring melody of analogue arcs sails skyward.“Balearic Sun” awakens the listener with birdsong and bongos. A relaxing, revitalising and re-energising experience, guiding hearts and minds through an audio oasis of light wind instruments and soothing samples.

The energy ramps up with the powerful “Uptown and Queens”. A HI-NRG-inspired rhythm is set to a steady march, delivering a workout of wry smiles and bold builds. The EP concludes with “Let’s Groove On,” a track that welcomes the dawn. Classic hi-hats and toms are garnished with a low whistle while juddering vocals push the track forward, making it the perfect last dance before sunrise.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

First reissue since its original release in 2014. Features by Sean Price, Guilty Simpson, Blu with production from DJ Premier, Illmind, Black Milk, Oh No & more.

The collaboration album from Brooklyn MCs Skyzoo and Torae is available once again after its original debut in 2014.

For years, fans of both Skyzoo and Torae asked the two to collaborate on a full-length LP, following the multiple singles they released together over the years. Classics such as the DJ Premier-produced "Get It Done" and "Click," and the !llmind-produced "Barrel Brothers" off Skyzoo's 2010 "Live from the Tape Deck" have been highly anticipated by their followers since 2006. The idea behind "Barrel Brothers" is what the people have asked for and come to know: the two wordsmiths for pure lyricism.

Skyzoo, known for his picturesque storytelling and jazz/orchestral background, and Torae, known for his gritty Coney Island depictions of life with a vintage yet modern lyrical approach, have briefly put their normal fortes to the side and crafted this album with one game plan in mind: lyrical exercise over hard New York City soundscapes. The current resurgence of NYC hip hop is the perfect grounds for two of its premier flag holders to continue doing what they never stopped doing in the first place: representing the city.

Sylvia Striplin is NY based Ajazz, soul, and R&B singer who is also well known as a member of Ladies of the Eighties which is led byARoy Ayers. This is her only solo album which was released from Roy's label "Uno Melodic" in 1981 and P-VINE are so proud of releasing this finest rare groove as limited 180g heavyweight double LPs with OBI-strip! all tracks have been newly remastered.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

P-Vine has got a couple of treasures up its sleeve for you here with a newly remastered reissue of The Mighty Ryeder's single 'Let There Be Peace'. This has never before been put out on its very own 45rpm and the original single is a much sought after and expensive gem, with the B-side featuring Muro aka King Of Diggin's 'Evil Vibrations', a tune best known as a sample source for De La Soul on their 'A Roller Skating Jam Named Saturdays'. Flip this new version over and you will find an edit of it that is just as compelling.

Sulo Karlsson is probably most well known as the frontman of the long serving Swedish glam boogie rockers Diamond Dogs but he's far more than that. Besides forming bands with UK guitar legend Chris Spedding (The Piggyback Riders) and former members from
The Clash and Sham 69 (The Crunch) he has been releasing numerous of solo albums and collaborated with artists such as Paul Young, Maria Mckee, Terry Reid, Janis Ian etc.

A well-kept secret and a lost pearl in the collection have been his first ever solo album "Rough Diamonds" that came out in a limited edition in 2003 and since the been out of stock for a long time and never released on vinyl or as download. Until now!


The complete debut including 13 tracks recorded between 1997-1999 at the legendary Sunlight studio and produced by Tomas Skogsberg (Hellacopters/Backyard Babies etc) will now be re-released together with an extra album of 12 never before released tracks. With guest like Nicke Andersson (Hellacopters), Dregen (Hellacopters) and his old band mate Boba among others "Rough Diamond" is a distorted display of Punky glam numbers that really points out the future for Sulo's career.

The early Reggae sound that came out of Jamaica between the years 1968 and 1971 became the soundtrack to the skinhead movement in the UK. Not only was the music embraced but also the dress style of the Jamaican Rude Boys.

The skinhead style started around 1968 and by the following year 1969, had become the style and fashion of the British teenagers. The uniform of the skinheads consisted of boots, braces, button down shirts and jeans and the upbeat reggae sounds seemed to match the style perfectly. The tempo of the music in Jamaica had previously slowed down from the more up tempo beat of Ska to the calmer pace of beat called Rock Steady. Some say this was to match the extreme heat wave that was hitting the island between 1966 and 1968. But that period had now passed and the evolution of the Reggae beat had again found a new pulse to hang its songs by. A more up tempo beat that all Jamaicans, British youths and various pockets of people around the world could groove to.

We have selected a cross section of tunes from those heady times, so sit back and enjoy some of the tunes the youths were listening to when the Skinhead Shuffle was all the rage. Hope you enjoy the set….

Nachschlag zum letztjährigen Concept-Album! Auf dieser günstigen Minialbum gibt es noch mehr ultra temperamentvollen (!) und gewohnt höchstfiesen Rock & Roll-Punk von der einzig wahren und letzten richtigen Punkband der Welt: 10 x reinste DWARVES! Das klassisch schwarze 12"-Vinyl vereint die sechs Bonus-Songs der Concept-Album-CD-Version, bringt noch einmal das Original des Stand-Outs "Parasite" und ergänzt das ganze mit zwei Remixen und dem gänzlich bislang unveröffentlichten "Invisible People". Zusammen mit der aktuellen Dwarves/Ralph Champagne-Split-7 das komplette Konzept! Mit u.a. Parasite, One Musketeer, I Had a Dream, Invisible People & Voodoo (Remix)

"Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer, Patterson Hood explains, ““Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines).

In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

This 3-disc deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout."

Rising Sheffield five-piece Dearthworms are set to release their debut album Sapsucker; a ferocious yet considered blend of jagged noise, wonk-rock, and a touch of experimental post-punk, in the vein of the Pixies, The Fall, Shame, Gilla Band, Protomartyr, Uranium Club.

Infused with eerie, surreal lyrics, stepping into Sapsucker is to dive head first into a parallel universe populated by snivelling, pathetic men, tales of eroticism, ruminations on death, and even a giant worm rooted in North-East folklore.

The band, who all have a longstanding history of being in various other bands in Sheffield inc. Blood Sport, Amorous Dialogues, Knorke and Stray Bullet, are a by-product of the local DIY space Hatch; a place that has existed as a creative incubator and experimental breeding ground.

Lyndon Hobson’s production captures the tone of the album itself, which is one equally rooted in anxious introspection as much as it is noisy and cathartic outpourings. This is a debut album that is genuinely distinct and singular, filled with varying twists and turns and off-kilter movements.

Sepulchral Voice, black vinyl, 4 page insert. Als ob die glorreichsten Tage des Thrash Metal nie aufgehört hätten zu existieren, kommen die chilenischen Aggressoren Mayhemic mit einem Debüt, das äußerste Kraft und Geschwindigkeit mit unglaublicher Musikalität und einem Songwriting von schierer Brillanz verbindet. Wenn du deine weißen, dreckigen High Tops, Skinny Jeans und Lederjacken so scharf wie in den 80ern aufträgst, ist dies der perfekte Soundtrack, um sich den Kopf direkt in die Hölle zu bangen!

Cinthie returns to her 803 Crystal Grooves label with You Know How EP German mainstay offers up three varied and vital house weapons to relaunch her label after 2.5 year hiatus Cinthie is one the most revered voices in underground house music and has been for more than a decade. Her take on the genre always puts the groove first.

It is informed by the classics but with a contemporary edge and comes on 803 Crystal Grooves as well as cultured outlets like Aus Music and Heist. As a DJ she mixes up records from her vast collection with equal style and skill, and is also now live artist who serves up impromptu jams on her collection of hardware.

Hot on the heels of several remixes already this year, the Elevate. Berlin record store boss is back with a new release just three days before her birthday. As a gift to herself she is relaunching her label after a 2.5 year hiatus due to pressing plant delays during the pandemic.

Opener 'You Know How' is a joyous piano house anthem that will get hands in the air. Classic, smartly deployed vocal samples inject an old-school edge while the textured bass brings serious low-end weight to this utterly timeless gem. The superb 'Mellifluous' rides on smooth drum bumps as waves of synth wash over the dance floor.

They bring feel-good warmth in a subtle, dynamic fashion that locks dancers in for a blissed-out ride. Last of all, 'Can You' swings irresistibly with punchy kicks and dry, raw claps. It's a physical house sound with chopped-up vocal fragments and rolling bass that makes a huge impact.

Cinthie's You Know How EP comes on 803 Crystal Grooves on DATE.

Als BRAINDANCE Anfang der 90er auf "Helen of Oi!"-Records nach ihrer Debut EP "Streets of Violence" ihr erstes Album "At full Volume" veröffentlichten, katapultierte sich die Band um Sänger Sloss mit einem Knall in die britische Oi! & Punk-Szene. Spätestens mit ihrer Split-LP zusammen mit OXYMORON und Veröffentlichungen auf "Knockout" & "We Bite" gehörten die Norwicher auch in Deutschland zu den angesagtesten Bands der 90er bis zu ihrer Auflösung 10 Jahre später! 2015 reaktivierte Sloss (der mit "ON THE HUH" ein weiteres Ass im Ärmel hat) die Band wieder mit neuen Mitstreitern. "This world is a fuckin ASYLUM" and the BRAINDANCE-story continues_ die Working Class-Underdogs rebellieren und rüpeln auch im Alter noch mit fetter Mittelfinger-Attitüde und süffisanten Hieben gegen das Establishment; der Sound weiterhin im perfektem 90er Style zwischen catchy Streetpunk & rauh-melodiösem Oi. Die 15 neuen Songs klingen teilweise eine Nuance härter aber eingängig-mitreißend wie eh und je. "Do it all again"_ja bitte, wenn es so klingt!

Als BRAINDANCE Anfang der 90er auf "Helen of Oi!"-Records nach ihrer Debut EP "Streets of Violence" ihr erstes Album "At full Volume" veröffentlichten, katapultierte sich die Band um Sänger Sloss mit einem Knall in die britische Oi! & Punk-Szene. Spätestens mit ihrer Split-LP zusammen mit OXYMORON und Veröffentlichungen auf "Knockout" & "We Bite" gehörten die Norwicher auch in Deutschland zu den angesagtesten Bands der 90er bis zu ihrer Auflösung 10 Jahre später! 2015 reaktivierte Sloss (der mit "ON THE HUH" ein weiteres Ass im Ärmel hat) die Band wieder mit neuen Mitstreitern. "This world is a fuckin ASYLUM" and the BRAINDANCE-story continues_ die Working Class-Underdogs rebellieren und rüpeln auch im Alter noch mit fetter Mittelfinger-Attitüde und süffisanten Hieben gegen das Establishment; der Sound weiterhin im perfektem 90er Style zwischen catchy Streetpunk & rauh-melodiösem Oi. Die 15 neuen Songs klingen teilweise eine Nuance härter aber eingängig-mitreißend wie eh und je. "Do it all again"_ja bitte, wenn es so klingt!

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Sliding between the bodies in the street, cutting across the contrails that bisect our sky, Wand find melody and the anxiety beats as they hum the soundtrack for a new gravitational center. Seeking connections against the plan of niche interest and anonymity, Vertigo is the sound of slippage, rocks of contradiction (in soft focus); feet lost, regained, lost again, a multi-chromatic swaying, more automatic, associative, directed, in time. Determining to work backwards (or at least insideout) this time, Wand recorded everything in their own studio; pieces cut from improvisations and reshaped, writing from within the performance, without the woodshed. Unconsciously, in the shadow of themselves, and turning round and round (and round), they kept finding that empty space and playing what it implied. Everybody took on a new position in addition to the old one. It was intuitive, strangely ego-less . . . going somewhere they"d never been and not knowing what they were doing, but committing and recommitting, unafraid to eject in a constant positive forward momentum.

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

Formed in Lewisham, southeast London, punk band the Business joined the Oi! scene after supporting the Four Skins in 1981.

Formed in Lewisham, southeast London, punk band the Business joined the Oi! scene after supporting the Four Skins in 1981.

Nein, man kann wahrlich nicht behaupten, dass GIMP FIST eine "Pechtsträhne" - so der Titel ihres 11. Albums "Losing Streak" übersetzt - seit ihrer Gründung 2005 haben, jedenfalls was ihre Musik und den Banderfolg betrifft. Die Welt da draußen allerdings scheint in diesen Tagen von Krieg, Hass, Rassismus, sozialem Elend oder dem profitgeilen Raubbau unseres Lebensraums nicht gerade rosige Zukunftsaussichten zu haben. Die 15 neuen Songs auf "Losing Streak" widmen sich dieser traurigen Entwicklung in all ihren Facetten aus der Sicht der englischen Arbeiterklasse. "Who's gonna help to get this country right on track?" (Born and raised) "Losing Streak" strotzt nur so vor Leidenschaft, Emotionen und purer Energie und ist noch einen Tick temporeicher als die beiden Vorgänger. Keine Verschnauffspause, kein um den heißen Brei herumreden, sondern direkt mit dem Finger in die Wunde der verlogenen Politik und ihrer gesplitteten Gesellschaft: "Whatever happened to our community in todays society?" (Community) Resignation ist dabei nicht das Rezept. Die Zeit ist reif die Dinge beim Namen zu nennen, den Blendern an der Macht die Stirn zu bieten und sich auf die Stärken zu besinnen: "Hey politicians you devils in disguise, we want stop until we see the "Whites in your eyes" Auch vor der eigenen Szene macht die Band dabei nicht halt mit einer aggressiven Kampfansage anr die right wing-community: This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") Der mitreißende, oldschool UK Skinhead-RocknRoll & Streetpunk Sound verbunden mit treffsicheren Lyrics von Gimp Fist ist authentisch und überzeugt dabei mit jedem Akkord und jeder Note! Die Wut ist spürbar! Wie auch bei den vorherigen Alben liefert Gimp Fist mit ihrem einzigartigen Gespür für Ausnahme-Songs verlässlich wie der Zeiger von Big Ben ein Album, das von Anfang bis Ende überzeugt! Es ist nur "more pissed and angry" geworden! Zurecht und genau zur richtigen Zeit!

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Stefan Ringer serves up his finest ATL house bounce on this stellar link up with Jazz musician and fellow ATLien Marquinn Mason, pushing their sound into new unchartered territories. Journeying through House, Broken Beat and even a lil' Latin Jazz, the two talents compliment each others styles beautifully. The EP joyfully creates a new dynamic, without skipping a groove or missing a beat. Impossible to ignore on Stefan’s step by step instructional call to the dance floor on title track ‘Bounce Lesson’, a definite delight for the dancers. That bounce then rattles through the EP’s other two tracks ‘alltogethernow’ and ‘Lead Walk', where the grooves get even looser, deeper and more bugged out.

For those unfamiliar, Stefan Ringer is a pillar of Atlanta's electronic music scene and is a long time collaborator with house music OG and NDATL label boss Kai Alcé as well as with Ash Lauryn and Ben Hixon. Under his previous Rekchampa moniker he has released a number of classic EP’s through the infamous Peoples Potential Unlimited label.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

The opening track to the Alan Parsons Project’s Eye in the Sky remains the most recognized instrumental in sports—fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of “Sirius” sets the table for the band’s smash 1982 album, whose hallmark smoothness, lushness, and balance extend to the music’s exquisite song writing, dreamy emotions, and underlying orchestral scope. Credit for the record’s craft, cohesiveness, and accessibility also falls to Alan Parsons and creative partner Eric Woolfson’s knack for recruiting session pros that translate their visions with unquestioned feeling—particularly, vocalists who include former Zombie leader Colin Blunstone and soul singer Lenny Zakatek.

Mastered from the original master tapes, Mobile Fidelity’s RTI pressed 180g 45RPM 2LP version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that take you into the studio with Parsons at Abbey Road Studios. Each note seems perfectly placed, every sequence painstakingly considered. Boasting front-to- back depth, concert-hall-level separation, realistic presence, and bang-on accuracy. This release will test the capabilities of the world’s finest stereo systems. There’s more information, more texture, more nuance— more of everything to be experienced. British progressive rock would never again sound so sophisticated, suave, or steady.

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

Facta & K-LONE’s Wisdom Teeth imprint continues its busy schedule of 10 year celebrations with the debut LP by H TO O: a new collaborative project by Japanese ambient artists H. Takahashi and Kohei Oyamada. Set across six distinct movements, the LP maps the different stages of the cosmic cycle through a series of dynamic ambient set pieces: from the exponential expansion of the universe in its infancy - here invoked by the bright, chiming album opener ‘Inflation’ - through to its inevitable collapse and rebirth, captured by the record’s driving, ominous closer, ‘Ever’. The record started life in Takahashi’s hands, initially intended as a solo follow-up to his acclaimed 2018 LP, Escapism. The Kankyō Records founder shared his early sketches with friend and collaborator Oyamada, who began to play with the arrangements, taking the work in an experimental new direction. Naturally the project evolved into a cooperative effort, and its final form is the result of an honest and fluid back-and-forth between the two artists. The collaboration marks a considerable shift in energy to the artists’ previous works - most of all in its foregrounded use of rhythm. Where Escapism was built from a series of gently lilting, dream-like vignettes, each movement of Cycle has a clear sense of forward momentum and purpose. Each composition builds from a set of sparse, meandering elements into something dense, cinematic and, at points, discordant. Although Cycle is at heart an ambient record, there is a club-informed feeling of forward motion running through the record, placing it in a similar sonic world to the beatless-but-rhythmic ambient techno of artists like Barker, Lorenzo Senni and Sunareht. Delicate and dramatic in equal measure, Cycle is a vital and exciting debut dedicated to the building of worlds - and to their eventual and inevitable dissolution. Genre: Electronic / Ambient

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

There are albums that tap into the very heartbeats of rhythm, melody and intricate sound design, pulsating with every musical note. This is the case of 'Séptimo Sentido', the new album by Buenos Aires-based producer Seph.

Sebastián Galante aka Seph is no stranger to these realms; with almost two decades of experience under his belt, he has established himself as one of the leading talents in the Argentina techno scene and as one of the most intriguing minds in alternative Latin American electronic music. His productions have found a home in cutting edge labels such as Insurgentes –a platform led by the DJ and producer from Medellín (Colombia) Verraco, and sister label of TraTraTrax, which has reduced gaps between the Latin electronic scene and the rest of the globe– or his own label Aula Magna Records. He has also fostered collaborations, among which stands out his project Oscean alongside Andrés Zacco, a project that was recently released on the legendary Berlin label Tresor.

In his new album 'Séptimo Sentido', Seph exhibits superlative production skills and masterfully showcases the widest palette of the braindance sound, that intersection where countless genres and sub-styles can coexist. Here we hear echoes from the mid-90s that revive undeniable references of early IDM; but with a renewed form, under a fiercely contemporary new skin.

At the core of this intriguing album, we find an artist whose devotion to experimentation takes his rhythmic and melodic obsessions through vibrant magical-techno-urban landscapes, where radiant colors and mutating forms collide in a bold and imaginative sonic journey.

'Séptimo Sentido' hails from the prism of perception, beyond the five senses and a step further than instinct, hunting for mysterious resonances with the cosmos; like a space portal inviting us to float a handspan above the ground.

DJ Support: Kerri Chandler, Prunk, M-High, Archie Hamilton, Mr.V, Alexi Delano, Laurent Garnier, Okain, Mystic Bill

Dutch House maestro Dennis Quin makes a welcome return to PIV this July with his ‘Treat You Right’ EP, comprising four originals, one of which features LA’s Cheshy on vocals. Over the past ten years Amsterdam’s Dennis Quin has moved from strength to strength and has become globally revered and respected for his raw and powerful productions, racking up releases on Cécille, Ibadan, Dungeon Meat, Eastenderz and of course the leading light of his hometown scene, PIV, where he returns with his latest EP.

Up first on the package is the original mix of title-cut ‘Treat You Right’ which sees Dennis team up with Los Angeles based Cheshy, delivering a composition that personifies the quintessential House sound, crisp 909 drums, fluttering stab sequences and a bumpy bass hook run in unison with Cheshy’s soulful vocal stylings, cinematic strings and shimmering synth lines. ‘Impressions’ follows next and showcases a different aesthetic with a swinging low-slung rhythm section, jazzy leads, marimba lines and bouncy subs to create a more Parisian deep house feel.

Further showcasing Quin’s dynamism as a producer ‘Touched’ then shifts up gears to a saturated skippy drum groove, vacillating synth stabs, a heavy dose of low-end drive and hypnotic vocal chants. Lastly to round out the release, Dennis offers up a ‘Classy Dub’ of the title-track, as the name would suggest stripping out a large portion of the vocals and reshaping the structure of some of the original elements and stirring some additional jazzy elements into the mix.

This is the first release from "Wenha", the successor label of "Tribe", which was established by Wendel Harrison in the 70's. This album is full of spirituality and blackness, and it retains the philosophy of "Tribe", but it also incorporates the smooth feeling of the early 80's. This is the first release from "Wenha", the successor label of "Tribe". This is the first release from Wendel Harrison's "Wenha" label, the successor to "Tribe" and a collector's item that has always fetched high prices for its original version, but it has been highly acclaimed not only for its rarity but also for its content, which has made many experts in the industry gasp in delight. This is a superb gem that has made many pundits roar not only in terms of rarity but also in terms of content! The players on the side include Phil Ranelin (Trombone), Harold McKinney (Keyboards), Roy Brooks (Percussion), and many other Detroit heavyweights, including Phil Ranelin (Trombone), who founded the Tribe together. The album starts with "Take Time Out" (A1) featuring soulful vocals, followed by the spiritual jazz "Pink Snowballs And Violet Skies" (A3) with its exhilarating bellow, and then the jet-black groove-filled jazz funk number "Where Am I?" (B1) is a truly historical document that beautifully captures the transition from the '70s to the '80s!
For this reissue, the 7inch "No Turnin' Back / Rocket Love" released at the same time on "Wenha" has been added to VINYL as a BONUS DISC, and a bonus track "Patrina's Dance" (B3) has been added to the LP. This is the latest reissue of the album in a completely new guise!








[h] C1. No Turnin' Back [7-inch]
[i] D1. Rocket Love [7-inch]

The group led by North Carolina-based singer/songwriter/guitarist Ron Henderson released this extremely rare album on the Los Angeles-based Chelsea label in 1976 -now priced at over 150,000 yen!- is being reissued on LP for the second time! As with the 2020 P Vine reissue, which has already skyrocketed in price, the cover is in the original Chelsea vinyl specification and the contents are in the reissue (probably boot) specification released in the 1980s with two additional singles from 1983, and also in 180g weight vinyl. Ron's singing is wonderful, with a hard and soft range from mellow medium, modern to crossover soul, ballads and funky, sometimes interwoven with falsetto! A great album that will make soul fans incontinent and weep!