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Oblako Maranta is a duo formed by Andrey Redkov and Antonio de Oto. “Tribal Trabant” was created with collaboration taking place between Saint Petersburg and Rome. It is characterized by the exceptional qualities and unique elements of their musical alter egos, Radial Gaze (Andrey) and A-Tweed (Antonio).

Logical’s third vinyl release showcases an intriguing blend of Eastern-inspired disco vibes, complemented by powerful acid-infused tribal-techno sounds. The album also includes two dystopian club remixes by label owner Mike Sacchetti and Lisbon based, Anastasia Zems.

The great sound of the sixties has been collected on this album. Featuring big international hits from Shocking Blue, Golden Earring, Petula Clark, The Shangri-Las and Demis Roussos. Go back in time with this great compilation, released on turquoise coloured vinyl. Original artists! Original versions!

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Out on 6 October, the music for Certainty of Tides was initially recorded with the Norwegian Broadcasting Orchestra with Nils Petter Molvaer as a soloist in 2020. He had asked several wonderful Norwegian composers to arrange a set of music from his back catalogue. “Have a listen to the recordings I did with the orchestra and tell me what you think” he told Norwegian composer, musician, and producer Jan Bang. Since the original recording was close mic’ed for broadcasting purposes, Bang saw an unfulfilled potential in the material due to lack of space in the initial recordings.
Bang came up with the idea of re-amping the mixes playing the music through speakers in a concert house followed by re-recording of the result through distant microphones. With 76 speakers (one per instrument) carefully placed exactly like the orchestra would have been seated onstage, Certainty of Tides was recorded from microphones strategically placed in the large hall of Kilden Concert House with phenomenal acoustics.
The re-amping and re-recording produced astonishing results. Some of the pieces needed additional color. Bang invited two of his highly talented electronic music students at the University of Agder (Kristian Isachsen and Even Sefenias Sigurdsen Frodesønn Røsstad). Both given freedoms to create their own sound based on their own personal taste.
The final mixes were put together by Øyvind Kurszus at Kilden Studios supervised by both students, Molvaer and Bang. Helge Steen has mastered the recording. Knut Sævik has re-sampled the drum track (played by Peter Baden) on “Simply so” and mixed the Song as well.

Neil Gust und Elliott Smith kamen im Sommer 1991 gemeinsam nach Portland, OR, um mit dem Schlagzeuger/Produzenten Tony Lash eine neue Band zu gründen. Innerhalb eines Jahres, nachdem sie den Bassisten Brandt Peterson am Bass kennengelernt hatten, spielten sie an der gesamten Westküste und nahmen Dutzende von Songs für ihre erste LP auf. Sechs dieser Stücke wurden auf der Kassette "The Music of Heatmiser" veröffentlicht, die bei Konzerten und in örtlichen Plattenläden verkauft und an Plattenlabels verteilt wurde. Der Sound der Band hat sich im Laufe von 3 LPs stark verändert, aber das hier ist Heatmiser direkt "in your face".

Neu, energiegeladen, aufgeregt, sich schnell durch die Stile bewegend, total kaputt und auf jede erdenkliche Weise funktionierend.

Was auch immer möglich ist. Es ist Gitarrenrock, mit voller Wucht, durch 100 Watt Marshall-Halfstacks, als Grunge im pazifischen Nordwesten aufkam und die Szene in Portland explodierte.Schnell, tight, laut, lustig.

Formed in the spring of 2020, Los Angeles-based Sacred Skin is the creative duo of Brian DaMert and Brian Tarney. In short order, the pair has shown a nearly unmatched ability to create anthemic pop music steeped in romanticism and melancholy and drenched in layers upon layers of new wave nostalgia. Backed by an impressive string of singles throughout 2021 and into the following year, the band released their highly anticipated full-length debut, The Decline of Pleasure, in May of 2022 to much fanfare. Armed with vintage gear such as the Sequential Circuits Prophet-VS & E-mu Emulator II and buoyed by strong songwriting, expert production work, and DaMert’s emotionally-charged vocals, Sacred Skin has delivered a modern masterpiece of an album that belongs as much to the ‘80s as it does the present day. An album worthy of standing next to the strongest efforts of idols like Duran Duran, INXS, Peter Gabriel, Depeche Mode, and New Order. An album that has captured the hearts of so many already and will no doubt continue to do so for years to come.

Midnight Mannequin Records is proud to present this deluxe reissue of The Decline of Pleasure, pressed for the first time on 2xLP colored vinyl and housed in a gatefold jacket complete with OBI strip. Newly remastered and cut at 45 rpm for exceptional sound quality, this is Decline like you’ve never heard it before. Featuring the bonus tracks Killer’s Mind and a remix of fan favorite Earthbound by fellow synth pop disciples Nuovo Testamento.

"The Friends of Eddie Coyle" may not be Dave Grusin's best known or most celebrated score but, like both book and film, it's a quiet classic." David Toop


Dave Grusin's cult funky soundtrack for Peter Yates' 1973 superb crime movie, 'The Friends of Eddie Coyle,' was never released at the time. It is finally out 45 years after for RSD 2018 on Wewantsounds, remastered from the original tapes with one bonus alternate take and featuring a new essay by leading UK writer and musician David Toop. Housed in a beautiful gatefold sleeve, the release also features a stunning cover by highly sought-after Alternative Movie Poster illustrator Oliver Barrett.













[m] 13: MR CONNECTION (ALTERNATE) [BONUS TRACK]

"Bob Shad's Master Sound" Okayplayer

"A Legendary Producer" Mojo UK

"Visionary" Liberation FR


WEWANTSOUNDS are back with a superb selection of Spiritual Jazz and Funk grooves from legendary Producer BOB SHAD's Mainstream Records catalogue.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- 25TH ANNIVERSARY EDITION
- FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (ORANGE & YELLOW MIXED)
COLOURED VINYL

They've never been praised for the great albums they produced, but Adorable released one of the stronger albums during the year 1993. Stuck in the moment between the end of the shoegaze hysteria and the Britpop era their debut album Against Perfection appeared. The heavy instrumentation and impressive voice of lead singer Pete Fijalkowski can definitely be linked to the perfection they're searching for in their music. The bittersweet Sunshine Smile' shows their crossover between shoegaze and Britpop, while the secret choruses from the guitar hooks creates the thrill of the unknown on Glorious'. The pre-Adorable tune Homeboy' is a track that follows the quiet-loud music line and it got some distortion and big bass sounds.


Adorable released only two studio albums before disbanding as a music group. It was an impressive 5-year period in which they combined the dreamy world of the shoegaze with the pop, but never got the recognition they deserved.

Against Perfection is available as a first pressing of 1.500 individually numbered copies on flaming vinyl.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
Released in July 1993 Audience Of The Mind makes a claim for being the great
lost House Of Love album, slipping into the UK charts for a solitary week, and
having no singles taken from it. Self-produced and recorded as a three-piece in
under two weeks, Audience Of The Mind feels as fragmentary as 'The Butterfly
Album' feels fulsome. There are some great moments – the moody-yet-melodic
Haloes, Shining On (featuring a guest appearance from guitarist Sean O'Hagen),
the eight- minute Into The Tunnel and the acoustic title track with Chadwick
sounding something like an aggrieved indie Nick Drake. It is a work ripe for
rediscovery.
This re-issue replicates the original 1993 Fontana UK release with printed inner
sleeve and is pressed onto high quality 180g vinyl.

The Perfect Storm is a 2000 disaster drama film directed by Wolfgang Petersen. The film is an adaptation to the non-fiction book of the same name written by Sebastian Junger. It stars George Clooney, Mark Wahlberg, John C. Reilly, and Diane Lane amongst others. The story follows a commercial fishing vessel that was lost at sea after being caught in 'The Perfect Storm' of 1991.

The soundtrack was composed by Academy Award-winning composer James Horner, who is known for scoring Titanic (1997) and Avatar (2009). The score revolves around a rolling, six-note motif to evoke the waves of the North Atlantic Ocean. The soundtrack also features the song "Yours Forever", performed by John Mellencamp.

The Perfect Storm is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert.

Hard-hitting latin-tinged super-group Grupo Magnético formed from backgrounds in funk, hip-hop & soul, united by a love of Eddie Palmieri, Tito Puente, Ray Barretto, Fania and classic New York salsa. They have worked with legendary musicians from Cuba, Venezuela and America & over time the group, led by Toby "El León" Shippey, developed their own set and sound.

These two tracks have been lifted from the Athens Of The North album Positivo from 2018 and feature 'Vulcano V El Gato' (Medley) with 'Somos Latinos' on flipside. Already supported by DJ Koco, Patrick Forge, Colin Curtis Gilles Peterson, Kevin Beadle ,DJ Amir, Mr Thing, Dom Servini, Coco Maria, Cosmo Sofi, Rainer Truby, Miche, Skeme Richards, Elsewhere Sonido, DJ Gilla and more ! Limited to 300 hand numbered copies ! No repress.

"Wow. Sounds like '74 downtown NY Fania Records... Absolutely brilliant. " - Gilles Peterson

A former pizza delivery driver and now self-taught full-time musician, CRi first caught the attention of tastemaker press with early single ‘Rush’ and his subsequent ‘Someone Else’ EP. Not long after, he joined the Anjunadeep roster in 2019 and gained attention from the label fanbase, and radio titans Pete Tong, Annie Mac and Jason Bentley with his ‘Initial EP’.

His debut album ‘Juvenile’ exceeded expectations, being nominated for a number of awards, including Best Electronic Album at the JUNO Awards, and three separate titles at the 2021 ADISQ Awards, including Electronic Album of the Year and ‘Revelation’ of the Year, which CRi won. Since the release of ‘Juvenile’, CRi has released three singles, an EP and remixes for Bob Moses and Lane 8; become one of the first electronic acts to headline Montréal Jazz Festival to an audience of 45,000; and performed around the world once more, writing as he went.

Since the slower days of the pandemic lockdown, and Quebec’s tentative reopening of nightlife and music venues, CRi’s life has become much more fast-paced once again; a transformation that has been infused into every beat of his new album ‘Miracles’. The vinyl release of ‘Miracles’ comprises 14 tracks, including two standout prior singles, ‘Something About’ and ‘Losing My Mind’ (feat. Jesse Mac Cormack), which, combined, have already accumulated 10 million streams between them.

The other twelve tracks on ‘Miracles’ (including 3 bonus vinyl-only recordings) showcase Christophe’s signature warming synths, in addition to an impressively wide range of sounds, from drum and bass, to indie, from electronic and chillout, making this work his most expansive to date. After the album’s release, CRi will be heading on a live tour of North America, stopping off in seven cities, including Los Angeles, Denver, Toronto and, of course, his hometown of Montréal, where he’ll be headlining at iconic venue MTelus, which regularly plays host to indie-electronic stars, including, recently, Metronomy, Jungle, Monolink, Max Cooper and Amtrac, and is a perfect spot to celebrate his rise in this scene, before he takes his live tour to Europe in early 2024. ‘Miracles’ is out 22nd September, 2023.

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

Kool Keith has long been hailed as hip-hop’s greatest eccentric. Over the course of a career stretching back to the mid-’80s, he’s perfected a singular style of abstract yet deadly precise rhyming that often focuses on subjects such as science fiction, hardcore pornography, and a distrust for the music industry. His sprawling discography includes numerous collaborations and aliases, with some of the most acclaimed including Dr. Octagon and Dr. Dooom, Black Elvis & Tashan Dorrsett. He began his career as the mind and mouth behind the Bronx-based Ultramagnetic MC’s, whose influential debut, Critical Beatdown, was released in 1988. Following the release of the band’s third album in 1993, Keith headed for the outer reaches of the stratosphere with a variety of solo projects. His lyrical thematics remained as free-flowing as they ever were with the N.Y.C. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who “water down the sound that comes from the ghetto”. Keith’s latest LP “Mr. Controller” entirely produced by Junkaz Lou is yet another work of art. No MC on the planet is so grimy and yet so polished — after years in the rap game, Kool Keith’s as unique as ever. TRACKLIST

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

In the swirl of underground music emerging from Dunedin, New Zealand in the 1980s, Peter Gutteridge stands as one of the era’s most intense and shadowy figures. Despite being a founding member of The Clean and The Chills, Gutteridge would eschew indie-rock fame for the hypnotic and driving sounds of his later bands such as Snapper.

Fittingly, it is Pure—Gutteridge’s lone solo album of intimate home recordings—that serves as the most revealing and celebrated release of his career. As Peter Jefferies writes in the liner notes, “That’s what’s so good about Pure. Not only the songs, but the name, the name for the recording. It is as pure as you can get. That’s the real deal, when it goes from nothing to something and he catches it on his machine.”

Originally released on cassette in 1989 on Xpressway, Pure documents Gutteridge’s stunning use of 4-track as instrument. Featuring lo-fi pop gems and interstitial sketches, the LP combines densely layered keyboards and guitars, distorted drum machines and possessed-sounding vocals to create a truly singular work of undistilled artistic vision.

While Gutteridge denied that he was the architect of the “Dunedin Sound,” Pure sits comfortably next to the most revered Flying Nun releases of its time. Shifting exquisitely from churning rattle to an airy ease without losing momentum, these twenty-one songs hold a lasting place in the canon of DIY music. Recommended for fans of Syd Barrett, Jim Shepard and early Fad Gadget. Includes drawing chosen by Peter’s family.

Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Funkiwala Records presents CUBANGLA - the sixth album by London fusionistas LoKkhi TeRra.
Following on from their hugely successful collaboration with UK afro-beat ambassador Dele Sosimi on 2018's "Cubafrobeat"(mixing afrobeat and Cuban Rumba/Timba), this album sees them return to their Bangla-Afro- Latin-Jazz-Roots.
8 tracks of 21st century London groove – from Sufi Samba to Baul Blues to Bengali folk-Son to Bangla Roots Reggae to London Descargas - recorded in between tours, sessions and collaborations – a true celebration of traditions taking on new forms as they travel and co-exist. In these divided times, their collective musical journey has never been so relevant.

Background
Kishon Khan's Lokkhi Terra have been blending the musical traditions that surround them in London, for many years now.
"Stunning Headliners... A majestic multi-cultural blend of sounds... effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London).

The band is composed of musicians who take seriously the different languages of the different genres they mix. Each in their own right play with calibre purist outfits. Members have collaborated with the likes of Hugh Masekela, Tony Allen, Ibrahim Ferrer, Johnny Clarke, Orlando Poleo, Africa Express, Jazz Jamaica, Ska Cubano, Giles Peterson's Havana Cultura, Kyle Eastwood, Bellowhead, Akram Khan to name a very few.
The tracks on this album were gigged for a number of years before being recorded, with the exception of the last 2 tracks which were recorded in 2015 just before performing at Womad and Songlines Encounters.
With CUBANGLA the band has come round full circle – a journey that started a decade ago with their debut No Visa Required (2010). An urban London view on the musical world.

Killah Priest’s Mystery Channel EP is his first release on 600 Block Records after his acclaimed features on Pugs Atomz’ Test Drive LP in 2022. The EP, coming on limited edition vinyl, features two original productions from Tusk57, an amazing Tall Black Guy Productions remix, and instrumentals of all three tracks. Tall Black Guy’s remix of Mystery Channel is a soulful jazzy take on the EP’s namesake, bringing his signature style to his first collaboration with 600 Block Records. From humble origins in Detroit, raised on a healthy diet of Motown, Jazz and early Hip Hop...Tall Black Guy has become a standard bearer for the current hip hop beats scene. Through a steady stream of productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Lefto, Jazzy Jeff, Questlove and countless others. Killah Priest made his first appearances on such Wu-Tang side and solo projects as Gravediggaz’ 6 Feet Deep, Ol’ Dirty Bastard’s Return to the 36 Chambers, and Genius/GZA’s seminal Liquid Swords. His contributions to those releases especially Liquid Swords’ “B.1.B.L.E. (Basic Instructions Before Leaving Earth),” essentially a Priest solo track paved the way for the release of the MC's acclaimed debut album, 1998's Heavy Mental, and a lengthy and respected career in the hip-hop underground. In addition to his prolific solo work, he was an integral member of the groups Sunz of Man, the HRSMEN (aka the Four Horsemen), and Black Market Militia. About Tuskb 7 - A musician turned producer, Tusk57 brings a live feel to recording sessions and is most at home leading a band in front of a live audience. He is a multi-instrumentalist songwriter who has released multiple records under many other stage names in various genres, garnering critical acclaim including a Billboard hit. He is how based in LA and is using this moniker to develop a signature textured sound for hip hop and soulful music.

Im Jahr 1986 erschien in der Bostoner Times eine Anzeige, in der Charles Thompson (alias Black Francis) und Joey Santiago einen Bassisten und einen Schlagzeuger suchten, die sowohl Hüsker Dü als auch Peter, Paul & Mary mögen sollten. Kim Deal (auf den ersten beiden Platten noch als Mrs. John Murphey) und David Lovering meldeten sich auf die Anzeige, und die Pixies waren komplett. Mit ihrem ungestümen Rock, den brachialen Tempowechseln und den sägenden Gitarrenriffs wurden sie zu der Indierockband überhaupt. Kurt Cobain gab zu, dass er einen Song wie "Smells Like Teen Spirit" ohne die Inspiration durch die Pixies nicht hätte schreiben können: "I was trying to write the ultimate pop songs, I was trying to rip off the Pixies". Ob es ihm gelungen ist, sei dahingestellt. Fest steht, dass die Pixies mit "Debaser", "Here Comes Your Man", "Monkey Gone To Heaven" und "Where Is My Mind?" Indieklassiker produziert haben. (aus laut.de)

Invisible Inc is back with another remarkable release, this time diving even further into ambient, spiritual and folk-infused psychedelia.

“Mondo Organico”, as the name suggests, is a concept compilation that captures the “organic” side of Invisible Inc. The use of non-electronic instrumentation is a familiar theme explored by the label previously with the likes of Komodo Kolektif, Immaculate Rivombo and Peter Power...but this time the instruments and voices, tranquil and meditatively hypnotic in places, display an even deeper spirituality.

Featuring the talents of Andi Otto and his fello (electronic cello), Anna vs June's ethereal vocals, Tyler Ov Gaia's zoned-out mantra rhythms, Pieter Kock's 8-minute bass and guitar psych odyssey, as well as label favourites Sordid Sound System and Puma & The Dolphin, the record is enthralling and mesmerizing from start to finish - and yet another notch in Invisible Inc's rather idiosyncratic belt.

This record was pressed on eco vinyl. Everything from the sleeve to the inks are recycled too, in an attempt to address some the environmental issues we face today, albeit fractionally.

“Mondo Organico” is the future.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

Despite the name, the band does not perform exclusively in trio formation, but expands the lineup with illustrious guests of the jazz genre. In the past AMC Trio has collaborated with Philip Catherine, Bill Evans, Ulf Wakenius, Mark Whitfield, Michael Patches Stewart and many others, including the guest on 'Following the Light' Randy Brecker.

The AMC Trio band has been around for about twenty years and consists of pianist Peter Adamkovic, bassist Martin Marincak and drummer Stanislav Cvanciger. It has its musical foundations in mainstream jazz but over the years has managed to develop its very own musical sound and style. The band incorporates many self-experienced stories and emotions in their compositions.

Although their music is influenced by Slovak music, it goes beyond the usual jazz progressions and touches on a number of diverse genres. For example, the wide range of melodies is inspired by popular and classical music, melodies from Eastern Slovak folk music, nature, literature and spirituality.

‘Dubism’ is the name of a new Pressure Sounds in house studio project. The first single, entitled ‘Moves’ features flutes by Diggory Kenrick and mixing and bass by Paolo Baldini, with added input from Pete Holdsworth at Pressure Sounds. Instrumentals feature mixes and guest players from the extended Pressure Sounds family.
The Jamaican influence is strong. The bass is deep. ‘Moves’ comes with a version on the flipside.

Radio Slave drops ‘Wild Life’ on Rekids this May

Following the recently dropped ‘Strobe Queen’, which picked up support from Honey Dijon, Sean Johnston, Laurent Garnier, BBC Radio 1’s Pete Tong and Danny Howard amongst many more, Radio Slave returns with another standout House cut ‘Wild Life’, turning in two exceptional Disco and Dub mixes.

“I’ve always adored the “Wildpitch” era of DJ Pierre, Roy Davis Jnr, DJ Duke and labels like Power Music It’s definitely influenced my work as Radio Slave and “Wild Life” started out as a nod to that early nighties sound. Conceived during the pandemic, I had the track mapped out and then with help of a good friend I decided to add live bass, loads of analogue keyboards and record the whole thing live and it became this super funky disco jam.” - Radio Slave

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Founded in 1971, Matumbi was among the earliest and best British reggae bands. They did, however, also record under different guises, including The 4th Street Orchestra. In their acclaimed Rough Guide to Reggae, Steve Barrow and Peter Dalton rate this album (and its counterpart Leggo! Ah-Fi-We-Dis) as "the best showcase for Matumbi's talents". This release marks the first LP reissue of this genuine UK roots-monument since 1976.

Original member Dennis 'Blackbeard' Bovell (of LKJ and Dub Band fame) knew the local sound system-scene like the back of his hand and most tracks on Ah Who Seh? Go Deh! were initially cut as exclusive 'specials' for his own Jah Sufferer sound system and for fellow soundmen. Hardly anyone hearing these tunes at reggae parties or would have guessed they didn't originate in Kingston but were recorded in London. And neither did many who bought the records when they were released a few years later. That's hardly surprising, as the material Bovell & Co churned out could easily compete with the toughest output of their Jamaican counterparts. A splendid version of the 1970 Kingstonians smash "Singer Man" is the most familiar tune here. But it's the band's own outstanding, heavyweight roots tunes like "Jah Chase Dem" or "Za-Ion", their versions popping up later in true sound system style for maximum impact, that will have reggae fans prick up their ears.

Ah Who Seh? Go-Deh! is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

A group of five talented musicians from the northeast, led by the songwriting genius of Alan Hull. Lindisfarne were formed in 1968 when Hull joined Simon Cowe on guitar, Ray Jackson on mandolin and vocals, Rod Clements on bass and Ray Laidlaw on drums. Building a fearsome live reputation, by 1970 they had been signed to Tony Stratton Smith's Charisma label.
Their first album, Nicely Out Of Tune, contained Lady Eleanor and set up an eager audience for Fog On The Tyne, an album of tremendous light and shade. Known for the Rod Clements- written, Ray Jackson- sung Meet Me On The Corner, and Alan Hull's anthemic title track. The album succeeds in creating a mythical, twilight northeast, from the cover design inwards; of city lights, ragmen, sausage rolls, tattered tweeds and having a "wet on the wall." Fog On The Tyne is the sound of a band at both a commercial and creative peak. The musicianship is second to none, watertight, yet relaxed and freewheeling, recorded at London's Trident Studios by Bob Dylan and Leonard Cohen producer Bob Johnston and Bowie engineer Ken Scott.

PowerSolo had a few decades of confrontational badassery behind them already when they descended on a barn in the Isle of Mön to record this, their 85th studio (OK, barn) album. The concept was clear: let's boil up a crazy stew with all the ingredients that the fanbase knows and loves. Kind of a return to the roots and the early albums in the mid 2000s It's Raceday... and Egg. Let a bunch of very diverse songs simmer together and create a beautiful dish that is both xtra spicy, surprising, complex yet super yummy. Like a Jambalaya: distinctly American fare, but not mainstream at all. We're talking Creole and Cajun food influenced by African as well as French cuisines and made by the ingredients at hand - some high end and some cheap and maybe even gone a bit stale. Seafood, chicken and smoked pork sausage combined in a vibrant, tasty and utterly unique mouthful. Yes, the metaphor promises a lot, but the album provides. Like the aforementioned LPs, as well as the breakthrough hit album The Real Sound from 2014, Jambalaya - Xtra Spicy was recorded, mixed and produced by Ulrik Petersen and Jesper Reginal (aka The Great Nalna and Yebo of The Tremolo Beer Gut infamy) at Dark Side of The Möön / Kondi Frost Studios. The musical crew consisted of main man Kim Kix as well as his right-hand man Anders "Peasoup" Pedersen. The drums were alternately manned by none other than former PowerSolo member JC Benz and live drummer Mike "ZACK" Sullivan. A pinch of South American spice was added by Flavia Couri of The Courettes on the duet "If I Could Fly" and every dish deserved a bit of French sugar. It was applied on "She's A Trucker" by none other than Phoebe Killdeer from Nouvelle Vague and Phoebe Killdeer & The Short Straws. Kix has previously produced and guest starred on these ladies' recordings, and they were both happy to take a seat at the table of this feast that is Jambalaya - Xtra Spicy

Long Island Sound follow up their acclaimed debut album and accompanying remix EP with Don’t Let Me / Air a limited white label release featuring 2 brand new dancefloor-certified anthems that signal a new era for the duo in both style and effect, while certifying them as masters of their house domain.

The Dublin-based duo of Rob Roche and Tim Nolan have made impressive strides as Long Island Sound for close to a decade now, honing their swooning dance craft via beloved EPs on their Signs Of Space imprint while becoming mainstays of their island’s club and festival circuit thanks to multiple acclaimed DJ sets.

Last year, they reached an impressive feat that few Irish dance acts have before them by releasing their debut album Lost Connection.

A 7-track opus that fused dynamic electronic sounds with contemporary styles of house, techno, and breaks, it signalled an exhilarating new direction for the duo that showcased their exceptional artistry in melody and production and subsequently earned them great acclaim.

An accompanying 5 track remix EP followed this year, featuring quality club reworks of various album cuts from producers Cromby, James Shinra, Mor Elian, and Benjamin Damage.

Signing off on that notable era, the duo moves swiftly on with this limited 2 track white label of unadulterated festival-ready house epics that have been highlights of their sets over the past year.

Don’t Let Me glides along a chromatic world of lasered synths, pitched diva croons and shuffling pistons before a breathtaking swell of cinematic rave harmonics reaches a magnificent combustible peak that’ll have you gasping for Air.

The flip cracks the window open, dialling down the frenzy with a magnificent swooning melody sits on top of a growling Reese bassline and mechanized 2-step beat where a romantic ambience grows.

Limited stock. First come first served!

DJ Support:

Pete Tong Radio One Support 21.07.2023

Tim Sweeney supports 'Don't Let Me' on his Beats in Space podcast on Apple Music

John Digweed supports 'Air' on his recent Compiled and Mixed podcast for Apple Music

Jenny Greene 2FM Ireland supports 'Don't Let Me'

Long Island Sound Guest Mix on Jenny's 'The Greene Room' on 2fm Ireland

Eight years on from the release of his compelling debut album ‘Sun, Cloud’, Luke Howard has now established himself as one of the most important and exciting musicians in contemporary classical music. The composer has been at the forefront of opening up piano music to a new generation, while challenging the notion of what can be achieved in the form. New album ‘All Of Us’ is not only an exquisite portrait of isolation, loss, resistance and reconciliation in both stark and rich shades of piano, orchestra and electronics, but the theme of quarantine provides a framework for the record. Throughout the album, Howard shifts between subtle permutations of shifting sound, etched with his trademark intimacy and restraint, and applied with a palate both minimalist and expansive; to his own piano, celeste and synthesiser, the Budapest Art Orchestra (conducted by Peter Pejtsik) plays strings, guests added flugelhorn, viola, contrabass and modular synth whilst fellow post-classicist Ben Lukas Boysen provides additional programming, production and mixing on ‘Critical Spirit’ and ‘The Opening Of The Gates’.

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

With the label MPS, post-war musical history was written in Germany:
noble music productions with many international greats come from the
Black Forest and are timelessly legendary
Some treasures from the archive of the label are released by HGBSBlue on highquality vinyl.
The Hampton All Stars played at the first concert of the festival "VS swingt" back
then. MPS boss Brunner- Schwer was there at the mixing desk. Some of these
recordings were released in 1978 as the MPS LP "Alive and Jumping" (MPS
15469).
"Hamp" and his All Stars were really into it and brought the audience in the Black
Forest, known as rather reserved, to a frenzy, especially after the break. The old
master worked his magic on the vibraphone, of course, but also played drums
and piano and sang with an irrepressible sense of rhythm as one who had
unmistakably internalized swing. The top trumpeter Cat Anderson was another
internationally known musician in the eight-piece all-star band with which "Hamp"
toured Europe at the time. And there was someone else who was one of HGBS's
personal favorites: pianist and organist Milt Buckner. Buckner's block chords had
not only influenced Oscar Peterson and George Shearing, but also inspired the
passionate piano freak Brunner- Schwer. The live recording with Hampton's All
Stars in Villingen was the last record of Buckner, who died a few weeks later in
the USA of acute heart failure.
The musicians can be heard in exuberant joy of playing, with "Hamp" standing out
sovereignly on vibraphone and drums, as well as Buckner with soulful organ
playing. Everything sounds unspent fresh and cheerful and shows Hampton and
his fellow players in top form. This rousing swing, which should appeal not only to
jazz fans, is available exclusively on LP.
- Unreleased live recording from 1977 in Villingen, Germany
- The last recording of organist Milt Buckner
- High-end vinyl quality 180 gr. vinyl in gatefold, matt finish with embossed
printing

Mary Jane Leach is a composer focussed on the physicality of sound, its acoustic properties and how they interact with space. She has played an instrumental role in NYC’s pioneering Downtown scene alongside Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation and reappraisal of Julius Eastman’s work since his death in 1990, compiling the »Unjust Malaise« 3CD set in 2005 and editing the 2015 book »Gay Guerrilla: Julius Eastman and His Music«. »Woodwind Multiples« is her second album for Modern Love, following »(f)lute songs« (2018).

»Woodwind Multiples« features four pieces for multiples of the same instrument: four bass flutes, nine oboes, nine clarinets, and seven bassoons. Each piece works closely with the unique sound of each instrument, combining pitches that create other, sometimes unexpected, tones, primarily combination and interference tones, as well as rhythmic patterns. What you hear is what happens naturally - there is no processing or manipulation.

»8B4 (1985/2022)«, played by Manuel Zurria, is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.

»Xantippe’s Rebuke« (1993) was written for Libby Van Cleve, for eight taped oboes and one live, solo oboe. The eight taped parts are equal and dependent, while the solo part is meant to be a solo with the tape as accompaniment. The piece works with the unique sound of the oboe, starting with unison pitches that create the richest sound, building the piece from there. Pitches and rhythmic patterns that occur naturally are notated and then played later, which in turn create other pitches and rhythmic patterns. So, in effect, the nature of the oboe and its natural sound determine the direction of the piece.

»Charybdis« (2020), played by Sam Dunscombe, is for solo clarinet and eight taped clarinets. It combines a somewhat obscured reference to Weep You No More, a John Dowland piece, which combines with the sound phenomena created from the melody and supporting chords of the Dowland.

»Feu de Joie« (1992) was written for bassoonist Shannon Peet and is an homage to the bassoon and its wonderful sound. It is for seven parts—six taped and one »live.« The taped bassoons combine to create a bed of sound that exploits the unique qualities of the bassoon, creating combination and interference tones, starting off with unison pitches, creating a rich sound that builds from there. Most of the subsequent pitches and phrases occur naturally, and are then notated later on in the piece, which in turn creates other notes and phrases.