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After stellar releases on Ilian Tape and Nostro Hood Soundsystem among others, ,,Mutualism” represents the much-awaited return of Atrice on their own label Miras. The follow-up EP reflects the culmination of a year-long exploration of compositional techniques and sound design, and acts as a first step towards a debut album. The result is a complete work, divided into eight chapters, that applies previous artistic research on textures, harmonics and rhythms in a rigorous yet playful manner. Whilst continuing to touch upon a broad spectrum of uptempo reference points, ,,Mutualism” offers a first glimpse into the pairs underlying pliancy next to the ever-present intricate complexities in their output.

That's all, hasta abajo!

Experimental musician and performer Moss Kissing debuts on vinyl for Lisbon collective Vilamar. Thick layers of ambience and intense bass weight form a canvas for plaintive melodies and brooding dance rhythms. These latter range in tempo and gait from dubstep to techno to jungle and back again, summoning contrary moods often within the confines of a single track. This freedom with form arises from Moss Kissing’s background in noise guitar and his current focus on dynamic improvisation led hardware jams, which have gained him notoriety around his chosen city of Lisbon. The British connection is unmissable, though, as the Pass Through LP is haunted by many of the spectres conjured by FSOL, Autechre and Burial before it. As with their previous releases, Vilamar bring to light an artist playing with the boundaries of dance music without ever losing sight of what’s at its core: the physical texture of bodies and minds in space, moving, seeking connection.

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

Dynamite cuts 45s series is proud to release two gems from the Perception label both First time on 7” vinyl. One killer track by the legendary Fatback band – “Fatbackin” is a rare groove classic and a b-boy special. Part of the original breaks and dj tools from back in the early days. On the flip is the monster “Matrix” by Dizzy Gillespie, a massive hip hop sample and club dancer. two bangers on one 7” – What, more do you need!!

A – Fatback Band - “Fatbackin’” B-boy Dj dancer – must have 45!! super heavy flute break.
B – Dizzy Gillespie - “Matrix” Hip Hop sample and superb mid-tempo Jazz funk groove.

Some 30 years after first putting on a slab of vinyl in front of an audience Belgian DJ mainstay Red D presents his debut album called ‘Fantasize Then Realize’ under his Red Basics guise. An experienced and versatile DJ if ever there is one, it was logical that his album takes in a wealth of influences from around the house and techno block and features some of his best musical friends and inspirations. From his ‘go to’ singer Lady Linn, to his musical friend and partner in FCL San Soda via Belgian stronghold Lefto, to his Detroit buddy Reggie Dokes: these are the people Red D has been working with and learning from for years on end.

The music ranges from the dreamy beatless title track to the sleazy spoken word ‘Just Like Hercules’ up to the Larry Heard-inspired deepness ‘Compelled’ and including the melancholy of ‘The Larkin’.

Locked down during the first months of the Covid 19 madness Red D had no more ‘I’m too busy to get into the studio’ excuses and all the inspiration gathered during the countless hours of DJ’ing and listening to records in the last 30 years simply poured out. Making track after track was daily (and nightly) business and after a while the idea of a full album simply came naturally. The next lockdowns were spent fine-tuning the tracks, coming up with lyrics and finalizing the tracklist.

The result is ‘Fantasize Then Realize’, Red D’s debut album and a testament to his sound and attitude.



DJ FEEDBACK:

Mousse T:”22 Shoulders, hell yeah!”
Laurent Garnier: “Thanks a lot for these tracks. There’s some lovelyyyyyyy deeeeeepness in there. Love it.”
Levon Vincent: “I gave the LP a listen, nice one! I thought ‘Devious Monday’ was captivating and I liked the work with Classy Lassy as well. Congrats!”
Ka§par:"When a guys knows what he's doing, it sounds like it's real. Great tracks, loving it more and more the further we go."
Roberto Rodriguez: "Classy album! Red D quality!"
Nacho Marco: "Loving it, hard to pick a favorite. Thanks!!"
Kong: "Big up Bart, well done. Belgium = house = Red D!!"
Melon: "House music represent! Love it, feel it & gonna drop it. Great stuff :)"
Simon Caldwell: "Some really special house music on this album. Many thanks!!"
OOFT!: "Yes! This sounds amazing! Authentic underground house music just the way I like it :)"
Massimiliano Pagliara: "Nice tunes!"
Tomaz: "We all knew Bart knows where it's at but this is ridiculously good. Hard to pick a fave. The collabs are great, so are the ‘solo’ tracks. I picked the single with Lien as fave because that'll hopefully draw the deserved attention to the rest of the album. Top marks !"
Juliano: "Congrats for your album Bart ! love the deepness of the tracks and the authenticity you brought. Thank you"
Harri: "Liking these a lot, will play and support."
Alex Barck: "That's a great piece of work"
Quintessentials: "All around fantastic album! Congrats!"
Lauer: "Respect, amigo!"
Darko Esser: "Beautiful album, congrats mate great work!"

Oráculo Records joins forces with Banshees Records to release the vinyl debut of the spaniard act JG OUTSIDER. In between futuristic industrial, electro, ebm and new beat sounds, JG OUTSIDER sound is harsh and fresh, as well as rhythmic but experimental, you could expect all that at the same time. This debut EP comes with four original tracks plus one blasting remix by our berlinese partner in crime SKELESYS, a darky plastic bomb ready to fire up any darky dance floor. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

The duo HER ABSCENCE FILL THE WORLD is the new sensation in Berlinese synthwave scene. Their genre classical song structures with a modern twist capture and transport immediately to the likes of successful past releases of Oráculo Records like Boy Harsher, Ultra Sunn, Synths Versus Me or NNHMN. Their debut EP include four songs already relased by Detriti Records in cassette tape format and two new songs previously unreleased plus one remix by techno master KOR. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

(Oraculo Records - OR109)

Death fucking Metal from Peru! A nuclear detonation of shredding and unbridled aggression! Spectral Souls was born in the beginning of 2019 in Lima, Peru, and from the beginning the idea was to work within the Old School Death Metal genre, going back and being inspired by the late 80’s and early 90’s bands and classic albums. During 2019 the band continued with the composition process and did it the first concert in mid 2019. At the beginning of 2020 and during the pandemic, the recording process of the first album “Towards Extinction” began at the Giovani Lama Studios. Because of the pandemic situation with government lockdowns and other obstacles, the recording took longer than expected, but luckily, after almost a year and a half of hard work, it was completed. The album contains 11 songs, in which different aspects within the old school Death Metal sound are explored, thus giving a sensation of interesting dynamics. The theme of the album is inspired by the humanity’s capacity for self-destruction, exploring the misery of man and his great enemies, such as religion, politics and social networks. When Hammerheart Records heard “Towards Extinction” they could not resist offering Spectral Souls a worldwide deal. “Towards Extinction” simply is a killer Death Metal album that brings to mind “Leprosy”, “From Beyond” and “Consuming Impulse”.

The inaugural Volunteer Jam from the Charlie Daniels Band with very special guests. RECORDED LIVE AT THE WAR MEMORIAL AUDITORIUM, OCTOBER 4, 1974 SPECIAL GUESTS: TOY CALDWELL/MARSHALL TUCKER BAND/ GUITAR/STEEL GUITAR DICKY BETTS/ALLMAN BROTHERS/ GUITAR PAUL RIDDLE /MARSHALL TUCKER BAND/DRUMS PERCUSSION JAMIE NICHOL/PERCUSSION

blue + red + pink vinyl

It's a huge link-up. We proudly present our fifth compilation, celebrating seven years of service. Over the course of the 18 tracks, divided across 3 discs, a whopping 25 individual artists show us what they can do, repping the distinct sound they bring to the label.

On the first disc, techno giant Alan Fitzpatrick teams up with Drumcode affiliate Reset Robot on a big-room techno slammer before Israeli duo Red Axes take us into the big room of our mind with a transcendental techno cut. Laurence Guy guides us in a different direction completely, joining Lis Sarroca, Marc Brauner and Tender Games in creating a groove that you can sit back into, losing yourself amongst Lis' syrup-smooth house, Miller Blue's soul-stroking vocals and MB & TG's piano tickles.

Before you get too comfortable, the Time Is Now lot come through with a suitable dose of ruffage, from Main Phase and Soul Mass Transit System's giddy UKG and speed garage, to the '90s-inspired atmospheric garage house of Borai and Coldpast & Tufftrax.

Closing proceedings are SNF's melody specialists. Ams, Kassian and Kaysoul each offer their take on blissed-out deep house whilst Module One & Soela and Alex Virgo & Benjamin Groove infuse stripped-back garage and breaks instrumentals with contemplative atmosphere.
Order SNFLP013 now

This 40 year anniversary collection traces Brother Culture's career and includes some of his biggest hits, with remastered versions of these classics. The album includes his hits Jump Up Pon It (25 million streams), Supanova (15 million streams), My Selecta (2 million streams), and some of his most listened-to tracks ever released on vinyl.

A composition simply means things being put together. In music, we usually think of composition as a classical idea. But in recent years, the possibilities of what ‘composing’ can be, have dramatically increased. Based in Oslo, Norway, Deathprod (aka Helge Sten) has been making his own forms of music with no compromise since the early 90s. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself. This music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience. The first new Deathprod studio project since 2019’s OCCULTING DISK, Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Helge used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. Like gazing at the wonders revealed by an electron microscope with Helge compositional control directs your attention to a succession of ever more spellbinding details and textures. Helge adopted the Deathprod alias in 1991. A complex array of homemade electronics, samplers, sound processing and analogue effects – cumulatively known as the ‘Audio Virus’ – combined with obsolete samplers and playback devices, to distort and transform sounds into unrecognizable relatives of their former selves. On the new album Compositions, the virus has evolved into even more fascinating and kaleidoscopic new strains. Electronically generated sounds vibrate and tremble like undiscovered metals ringing and resonating together. Sonic forms attract or repel each other as if under the influence of a strange magnetism. None of the tracks are over four minutes, but no way are these ‘miniatures’. Each one contains its own fully-formed galaxy of tones and clusters, while all tracks audibly belong in the same universe. These are 17 compositions in search of a sonic ideal. His off-grid audio control centre created a parallel acoustic universe which he filled with mutated samples and electronic textures. Even the gaps between the tracks are part of that universe. Helge left the almost silent, twitching crackles of his snoozing analogue gear intact, ensuring a smoother transition between them. Helge is continually striving to find new parameters and possibilities for what music can be – what you can affect with the medium of sound. From the intricate homemade miniatures of Treetop Drive to the bonecrushing electronic barrage of Morals and Dogma and OCCULTING DISK, the different sides of Deathprod are all products of the same obsessive focus and self-discipline in pursuit of sonic exploration. His Compositions are private rather than public music: like introspective chamber or solo compositions instead of the more strident, outward-looking tones of a symphony. Helge is a founder of Norwegian improvising group Supersilent and has produced records by Motorpsycho, Susanna, Jenny Hval, Arve Henriksen and others. He recently composed music for Harry Partch’s legendary instruments, which can be heard on Sow Your Gold in the White Foliated Earth, released in 2022 on Smalltown Supersound.

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Deep Listening 2019 - 2022 features the best of Richard Norris' recent ambient, downtempo and deep listening music.
This reflective, meditative take on electronic music has been a daily practice for the musician for some years, and has resulted in numerous releases on the Group Mind and Inner Mind labels. Included are a number of 'Music For Healing' tracks, part of an ongoing series of releases specifically created for relaxation and anxiety relief. The results have been quite phenomenal. People have given birth to this music, and there have been many reports of people using this music to help anxiety, stress and bereavement.

Richard Norris is well known for his work with Soft Cell's Dave Ball in the Grid, and Erol Alkan in Beyond The Wizards Sleeve, as well as many solo releases, productions and remixes. He has been called 'the electronic musician's electronic musician', and the results are all over this double album, with warm analogue bubble baths heavily featured. Dive in...

Ross Gentry takes charge of the first Ceremony of Seasons release and the music on it has been specifically written to "be paired with Sink into Seclusion, a Mendocino grown, amphora aged, skin contact Sauvignon Blanc wine." Though it might go well with wine, it works just as well on its own as a pastoral, subtly shifting ambient album with delicate pianos unfolding over sustained chords. Moods fluctuate from cathartic and dreamy on the opener to a little more unsettled and tense on 'A Shadow Decade.' How so ever you enjoy this record it is one that makes a lasting impact.

Most Excellent Unlimited teams up with Giant Step Records for this special release of a U.K. jazz-dance classic's Twentieth Anniversary.


Voted Track of the Year at Gilles Peterson’s 2003 Worldwide awards, RSL’s “Wesley Music” was an instant anthem on its release, combining a jazzy sensibility with heavy percussion, catchy brass riffs, and a building, hands-in-the-air chorus hook. The Manchester, UK-based band first released the single on their own label, but as the tune took off it was quickly released in the U.S. by Giant Step Records, long a pipeline for the freshest British new music. Most Excellent Unlimited has collaborated with Giant Step Records for this exclusive re-release to celebrate the twentieth anniversary of the original record. The A side swaps out the original mix with a never-released Danny Krivit “Part 1” mix, a slightly more extended and direct to-the-point punch of Latin percussion and chants. The B side features Krivit’s “Part 2” mix that lets the tune unfold in all its building-anticipation glory, gradually elevating to a thunderous pinnacle of an almost spiritual nature.


With RSL recently finding favor in the sets of Chicago deep disco don Rahaan and NYC’s globetrotting Ge-Ology, remaster & pressed on an attention to quality vinyl, ideal to celebrate the twentieth anniversary of this timeless iconic track.

In the midst of a wave of hybridizing ambient, drone, folklore and experimental electroacoustic music, Roxane Métayer has gained a cult following with only a couple of releases to date. Following her debut album (Éclipse Des Ocelles) for Morc with a split EP and a limited cassette for Wabi-Sabi, Roxane now turns to Marionette with her intimate narrative based multi-instrumental recordings, a match made in the heavens if you ask us. With her violin, woodwind, voice and various effect pedals, Métayer takes the listener on a newfound journey into the ancient, medieval, and primordial.

Perlée de sève is Métayer’s second full length, a sophomore to the critically acclaimed Éclipse Des Ocelles, where Métayer continues to sonically realize the map of the fictional habitats that inhabit her mind. Coming from a background of studying narration and different animation mediums, it’s no surprise that her recordings evoke vivid imagery and carry a trace of the environment they were conceived in. The instruments morph as extensions of her body and ultimately become new organs, a means of communicating these bio-memetic stories and creating a dialogue between herself and her surroundings. Meandering melodies intertwine with accompanying drones, mantra-like fragments and a handfeel percussion lend themselves as living and breathing elements in Roxane’s beguiling and spellbinding anecdotes.

Roxane is an observer of the world, her projects conceived from elements that inform her reality, such as the organic imagery and sounds of nature, then transforming that into a strangely familiar parallel universe that would not exist otherwise. Whether it's active research or taking her instruments to the forest, Métayer opens up her imagination by taking this mental journey to discover locations, creatures, and time periods then channeling that into her own fairy tales. The album and track titles act as a portal into those worlds, like chapters in a book where the protagonists are animalia, plantae, and fungi. As Métayer wrote in an interview: “Stories are a privileged way to create an awareness of a specific subject.”

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition. Soul Jazz Records" Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.

2023 Repress, Marbled Vinyl

After their Grime / Dubstep leaning debut single in late 2018 Intrauterin Recordings mastermind baze.djunkiii and production partner Sascha Müller return with a new outing of their conjunctional COMBAT DUBS project. With „Crystals“ they're coming at us with a special twist, presenting a fascinating crossover of UK Garage and Breakbeat sporting overwhelming basslines and a crystalline, most beautiful and ever cascading synth motif whilst the flipside sees the pair of producers diving deep into raw SpeedGarage / BasslineHouse territories for maximum dancefloor pressure with the aptly titled „Crystals *Speed Mix“.

Initial pressing will be limited to 200 copies on white vinyl.

Last month, nigh-on the 30th Anniversary of their debut album ‘Dad Man Cat’, Acid Jazz titans Corduroy returned with a brand-new double-sider: No More Me Me Me / Hypnotoad.

We’re honoured to still be working with the band, and today we present a special edition 7” single to mark the release. Limited to 500 copies. Available to pre-order now!

'No More Me Me Me' steps into to the atmosphere of Dad Man Cat’s vocal track, ‘Ponytail’, recalling the likes of Ramsey Lewis or Les McCann. 'Hypnotoad' is a sharp shock of instrumental funk - classic Corduroy.

A hot 45 for sure from the Fabric Four. Pre-order yours now! Limited release of 500 copies.

Cantaro Ihara won himself plenty of friends in the deep-digging vinyl community last year with a very special Japanese cover of free soul star Weldon Irvine's 'I Love You' on a lush little 45rpm. It is now a hard-to-find and expensive record that has been remixed by the one and only beatmaker DJ Mitsu The Beats. He adds one his tight, textbook beats under the lush and airy vocal harmonies to make for something playful and jazzy. On the flip is an instrumental version that really showcases DJ Mitsu The Beats next-level production chops. Cop this one while you can, because it's sure to fly just like the original.

Limited to 500 copies

Shooting stars is the new single from the acid house american specialist Tin Man. A slow acid pop song that will drive you high for sure. The single comes with two different remixes of « Electric blue » from the frenchies Monkey Nenufar (Leiris & Ben Vedren). Non-standard Tobias Freund suggests a new vision of « Love sickness ». Both original tracks were released on salon records in 2011.

Infinite Machine is proving again it's a label that refuses to sonically sit still. Having released everything from code-based compositions to bass-heavy techno in 2022, the imprint is readying the release of the black metal-tinged Ehkta by BOLT RUIN later this month. A musician whose work has been described as 'apocalyptic' more than once, on this new mini-album, the Belgian producer blends field recordings, twisted samples and rave signifiers with an eerie tonality born out of his nocturnal production sessions and time spent absorbing the silence of his studio garden.

Bridging the gap from his previous record to this one, 'Sktone' is a cinematic opener that unfolds like a bad dream in slow motion. Warped samples of Bulgarian choirs glide over synths wired in closed-circuit loops which feed back on themselves, degrading for infinity. Texture and space is added via field recordings of waves crashing over the ruins of Brighton West Pier. This track exemplifies the unexpected influence BOLT RUIN took from the wildlife he witnessed in the garden of his urban studio when working on Ehkta. Adapting to the material at their disposal, weasels and blackbirds create nests from organic waste and human trash - an astute metaphor for the Belgian producer's compositional approach.

Next up, BOLT RUIN drives up the tempo with the rave-ready 'Nehng', where a frenzy of trance arpeggios and frantic drum programming builds and intensifies over its 5-minute duration. Inspired by Yves Klein's 'Leap Into a Void', 'Nehng' definitely evokes that bodily rush of freefalling into the unknown. 'Nehng''s driving rhythm is switched out for the brooding 'Tzarhk' - an ode to the soundtracks of B-movies composed on a vintage Roland SH-2 (a prominent character of the Stranger Things soundtrack). BOLT RUIN runs thick, syrupy synth slabs and punishing drum patterns through a rain-soaked limiter the producer found lying on the street by chance.

Another master-class in self-destructive arrangements comes in the form of 'Rfohmdrá' as delicate pianos and synth tones atrophy through daisy chained pedals which erode the signal. Valgeir Sigurðsson's mastering skills shines through here, taking BOLT RUIN's sci-fi-meets-metal sonics and amping them up to a scale on par with the Björk or Ben Frost records he's previously worked on.

Conceived of as the mirror reflection of the LP's opener, 'Maevr' pushes the approach of 'Sktone' to an even more nightmarish extreme. Embracing chance, the clattering layers of beats are sampled of a knocked mic on a window as BOLT RUIN attempted to capture a recording of rain from his studio. A happy and very effective accident for the foreboding mood of the track!

BOLT RUIN rounds off Ehkta with 'Ekztamnh'; an ode to that specific sensation of entering through a corridor to a rave and hearing the rumble of a soundsystem from afar. Snarling melodies are run through a reverse granular delay effect which fragments the signal, reverses it and plays them back in irregular order; much like the shattered memories of a late night in a warehouse.

A musical magpie who finds inspiration in the most unlikely of sources, Ehkta is a restless exploration of salvage-punk aesthetics where doom-laden black metal melodies, amen breaks and an experimental approach to sound design sit in an irregular and uneven musical apocalypse. For fans of Blanck Mass or Caterina Barbieri - this is a must-listen material from a fresh producer establishing himself with a singular musical voice.

Prayer returns to Hooversound once again creating a melting pot of his influences. From classical, to jungle and breaks to ambient, Prayer has doubled down on his refusal to be pigeonholed into a stereotype.

#HOO11/06 is a release combining this EP with his previous release on Hoover - putting it on vinyl form for the first time!

Prayer has always been one to push hard on the emotional front, and definitely brings this energy to this release. Having recorded original piano music from the age of 16, he’s been able to create a distinctive sound that still yet blows expectations out of the park, with previous releases on Grade 10 and Black Acre as well as debuting on Hooversound in 2021.

This EP continues in a run of amazing releases from Hooversound Recordings - the London-based label founded by NAINA and SHERELLE in 2020 - including the likes of Chrissy, Mani Festo, Special Request x Tim Reaper and Sinistarr to name a few.

New TTJ with special reworks. ESSENTIAL ITEM. NO REPRESS

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition.
Soul Jazz Records’ Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.
From computer software and hardware experimentalists and sound pioneers such as Laurie Spiegel and Kevin Braheny, as well as Mother Mallard’s Portable Masterpiece Company – the first synthesizer ensemble created in collaboration with Robert Moog – through to musique concrète experimentation, the album shows how technological advancements and creative artistic expression often went hand in hand. 
In the mid-1970s artists Steven Halpern and Iaxos were instrumental in creating proto-new age music, experimenting in both the healing properties of sound and its relationship with the natural world. These artists also pioneered a new self-contained and underground D-I-Y approach to music, creating their own record labels, forming new distribution networks (with albums sold in meditation centres, health food stores and ashrams) far away from the commercialism of the mainstream music industry. In the early 1980s after the revolution of punk, these D-I-Y attitudes and ideas appeared once more in the growth of the distinctly anti-commercial and underground cassette-only careers of artists such as Germany’s Stratis and Carl Matthews in Britain.
Artwork includes some of the earliest photography of the Plieades star cluster dating from the 1880s.

"Listening to Space, Energy & Light in one sitting is a bit like experiencing constellations exploding within constellations inside your brain." Record Collector
"Incredible collection of spacey electronics and meditative soundscapes dating from the early 60s to the late 80s here, lovingly assembled by the Soul Jazz team. This compilation has it all if you like your music deep. Big names such as Iasos and Laurie Spiegel feature, but even if you think yourself a bit of a nerd in this field, there are some lesser known pearls to be found." Bleep
"Quite simply an amazing mix of some quite bizarre and interesting pieces of music, no way to describe it other than to buy it, put on some headphones and drift off to inner space.” Amazon
"New compilation charting almost three decades of experimental
electronic and synthesizer music from the most influential and often
unsung composers of their generation. Beginning and 1961 and
following the story until 1988, Space, Energy and Light connects
proto-new age gurus and DIY tape vigilantes who were equally
inspired by the advancements of new technology and its potential to
unlock utopian futures in both the music and the soul." Vinyl Factory

Having co-produced Duran Duran’s acclaimed fifteenth studio album, ‘FUTURE PAST’, Erol Alkan returns to recent single ‘ALL OF YOU’ to deliver a very special Extended Rework. Paying tribute to the band’s pioneering ‘Night Version’ remixes that tipped their earliest material towards the dance floor, this grandiose reimagining equally recalls Alkan’s beloved reworks from over the years.

Recorded with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, ‘All Of You’ also features lead guitar from Graham Coxon and backing vocals by Barli. Blessed with the raw material, Alkan distills each element into a glorious disco odyssey totalling nearly ten minutes, an epic but sensual dance floor trip that already ranks amongst his finest work. 

Phantasy is proud to release 'ALL OF YOU (Erol Alkan's Extended Rework)’ (backed with an instrumental version) on a limited run of 12” vinyl.

Für den LP-Sampler 'Ganja Anthems' hat das Label Irie Ites Records 12 Perlen tief aus seinem Katalog ausgegraben, die dieser Pflanze, die elementarer Bestandteil der Reggae-Kultur ist, Tribut zollen. Darunter befinden sich internationale Hits von Turbulence & Spectacular, Perfect Giddimani, Sizzla und Lorenzo & Chezidek, aber auch unveröffentlichte Tunes von Suga Roy & Conrad Crystal (im Studio One-Discomix) und Peetah Morgan (mit einer Roots Radics Komposition).

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

WRWTFWW Records is thrilled to announce the first ever release of the soundtrack for the sci-fi Amiga demoscene wonder Odyssey by the Alcatraz group, with music from Greg - and what is possibly the first ever vinyl release for an Amiga demoscene soundtrack, if not the first ever vinyl release for a demoscene soundtrack whatsoever!

The special limited edition vinyl features the complete soundtrack of the demo sourced from the original masters as well as printed innersleeves, a 24x24 inch double-sided poster with extensive liner notes on the fascinating history of the Amiga demoscene on one side and a floppy disk print on the other, and a WRWTFWW sticker sheet. Odyssey is also available in digital format.

Wikipedia says: The demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audiovisual presentations. The purpose of a demo is to show off programming, visual art, and musical skills. Demos and other demoscene productions (graphics, music, videos, games) are shared at festivals known as demoparties, voted on by those who attend and released online.

In the demoscene galaxy, one era was particularly exciting: the Amiga years during which the demos were created for the Commodore Amiga home computer - a time of intense rivalry between programmers, graphics artists, and computer musicians, testing the limits of the (fixed) Amiga hardware.

The Odyssey demo was one of the largest productions ever released by an Amiga group, a real sci-fi movie on five floppy disks made with 3D sequences. It was presented at a demoscene party in 1991 and won the competition, setting a new standard for Amiga demo possibilities.

One of the highlights of the demo was the funky cosmic music from Swiss composer Greg, a true space opera, the 90s galactic soundscape you didn’t know was missing from your life! And so here it is, available for the first time, 10 tracks of pure video game music joy, adventurous computer pop, pixelated techno-trance, Star Wars gone floppy disk, and interstellar beats for days.

Samuel Rohrer - drums, percussion, electronics, keys, modular synths Music produced, recorded and mixed by Samuel Rohrer
Samuel Rohrer’s newest solo album, Codes of Nature, shows the artist making yet more refinements and additions to an already rich catalog of musical ideas. Though he has excelled in collaborative projects with Ambiq, Ricardo Villalobos, Max Loderbauer, Tobias Freund, Dark Star Safari, Nils Petter Molvaer, Oren Ambarchi and
many others, it is fascinating to experience him also working in a field completely his own, yet managing to still give the impression of being fully integrated or connected with a larger musical universe.
A strange, intriguing ambiguity between the specific and the universal is indeed what makes Rohrer’s music worth playing on a loop – the cool, downtempo, yet energized constructions on Codes are powered by subtle atmospheric and tonal changes, and work like a camouflage adaptable to any environment. This is a record whose strength derives from its versatility. It’s clear that this versatility of sounds has been inspired by a commitment to positive differentiation that is not just a musical one, and that’s where this work will inspire others in turn.
— Total playing time: 50:04

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Now coming out on vinyl BBE is pleased to announce the 12” release of The Lyman Woodard Organisation - 'Creative Musicians', featuring remixes by Waajeed and Henrik Schwarz. Originally released as a digital EP from the album 'Strata Records – The Sound of Detroit – Reimagined by Jazzanova', 'Creative Musicians' and its remixes now come to you on deep grooved vinyl. The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron. Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour! Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher! And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization. ‘Strata Records - The Sound of Detroit - Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

Ein brandneuer, bisher unveröffentlichter Neuzugang findet seinen Weg in die Lost Not Forgotten Archives: 'Distance Over Time Demos (2018)' dokumentiert die Schreibsessions für das vierzehnte Studioalbum von Dream Theater in Yonderbarn in New York, dem abgelegenen Studio, in dem die Band für die Entstehung dieses vielgepriesenen Albums zusammenkam. In der ursprünglichen Reihenfolge, in der die Stücke geschrieben und aufgenommen wurden, bietet diese Veröffentlichung einen faszinierenden Einblick in die Entstehung des Albums. Erhältlich als Special Edition CD Digipak, Gatefold black 180g 2LP+CD, Ltd. Gatefold transp. Sun-yellow 180g 2LP+CD & als Digitales Album.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

There are two versions - 180g black vinyl and color vinyl version - limited to 100 copies and each vinyl has a different color. All versions has booklet inside with the special artwork dedicated to each track from teh album.

Things don't always go your way, especially when your plans involve space travel. In the case of Captain Harrison Focus's expedition, it started innocently, but no one was prepared for an emergency landing on the mysterious planet Carmin. Only then did the real fight for survival begin. This record tells the story of a dangerous expedition into space that began on February 6, 2023.

Twoosty Mayonez consists of Bartosz Wolert (drums) and Dominik Kaniewski (bass guitar and synthesizers). "Carmin" is their debut album, which is released primarily on vinyl by U Know Me Records.

As 2022 concludes, Marcel Fengler opens a new career chapter with the announcement of '10 Years IMF', an inspiring compilation that marks a decade of his influential label Index Marcel Fengler. A "heart project" two years in the making, the work showcases 12 cuts from artists across the generations exclusive to the compilation, and in-line with the imprint's ethos, unites established and emerging artists.

At the same time, true to Fengler's own vision, it presents productions that span the full breadth of the techno genre - whether it be funky, elegant, industrial, atmospheric or broken beat, right through to the harder techno variety, '10 Years IMF' stands as Fengler's personal manifesto of techno and the artistic possibilities of the genre.

Each record includes a 10 Years special collectors item.

"I begin our sixth album by exploring melodies that take me to the boundaries of my voice. I write myself into my highest highs and lowest lows. There is a precariousness in the outer limits of my range that demands vulnerability. As our demos take shape, I realize this will be our first album without any belting, the first time I can’t force my way through the notes," recalls Tennis' Alania Moore. "In the studio, Patrick compresses the shit out of my mic and I sing with the gentleness of breathing. In that softness, lyrics take shape. We want to write a big album—something suited for radio, but our songs don’t follow conventional pop structures. Instead of choruses with universal themes, I write with a specificity that is new to me, narrowing in on the smallest details of our lives. The more we try to broaden our scope, the more we turn inward." "We name the album Pollen. It is about small things with big consequences: a particle, a moment, a choice. It is me in a fragile state; sometimes inhabited freely, sometimes reacted against. It is striving to remain in a moment without slipping into dread. It is about the way I can be undone by a very small thing." Tennis is Alaina Moore and Patrick Riley. Pollen is their sixth album. The two met in the philosophy department at the University of Colorado in 2008 after dropping out of their respective music programs. In the years after graduating, they got involved in Denver’s DIY music scene. Through house shows, they were connected with Underwater Peoples and Firetalk. The band went blog-viral nearly overnight, landing them a record deal with Fat Possum and then Communion Records, but with shifting labels and new interests, Tennis chose an alternate path for their band and career. In 2016, Moore and Riley formed the label Mutually Detrimental and began self-releasing. Their newfound freedom allowed them to return to their sailboat to write their next full-length, this time in the Sea of Cortez. Yours Conditionally, released in 2017, became their most commercially successful album–charting at #4 on Billboard’s Independent list and in the top 100 highest selling vinyl releases that year. They played Coachella and opened for artists like The National, Father John Misty and The Shins–proving their DIY roots as a cornerstone to their sound and narrative. Their follow up Swimmer (2020), was recorded in their home studio with Moore and Riley producing and engineering. The pair brought their long-time touring member Steve Voss in for the second time to drum on record. The singles, Need Your Love and Runner, were Tennis’ most successful releases to date.

Formed in 2007 in the Dolomite Alps region of Italy with a deep admiration for their native country’s hardcore punk luminaries in La Quiete and Raein, as well as eighties and nineties cult heroes in Negazione, Wretched and Indigesti. STORMO’s steady rise from unassuming beginnings has been one of consistently stirring song writing. Having amassed over 400 shows across Europe and the UK - including support slots to Converge, Full of Hell and La Dispute, as well as appearances at Fluff Fest - STORMO’s next chapter sees the band fully come of age. Lyrically, Endocannibalismo was written entirely in the band’s native tongue; partly as a byproduct of the albums nocturnal and instinctive writing process and partly in honour of their history as a band. Recorded and mixed by Giulio Favero (Zu) for mixing before being placed in the hands of Giovanni Versari at La Maesta for mastering, Endocannibalismo’s 11 tracks possess a crystalline clarity to service STORMO’s surging blastbeats, spiralling rhythms and noise punk cacophony, whilst staying true to the each songs deep seated primal nature. Seeking to tie together the whole process visually, STORMO took to artificial intelligence when creating Endocannibalismo’s art. Utilising specific prompts, the AI render was put through stages of mutation before culminating in its final form. A haunting graphic representation of living beings in a state of constant death and rebirth.

The gang that make up Utlandet aren't strangers to exotic rhythms and untamed saxophones. They have been playing parties and filling clubs around Norway for years, and are now readying the concept album Grandfather of Yucca, due in 2023 on Jansen Records. Having a yucca plant on the windowsill can’t replace traveling to an exciting destination. But still, it allows you to dream, and to wonder how things might be out there in the unknown. That alone is reason enough for Utlandet to pay tribute to this modest, sun-loving and exotic plant that through the ages has learnt to live with us northerners. Utlandet – the Norwegian word for ‘abroad’ – is a result of a surplus of energy emerging from a collective depression, where learning to appreciate the smaller things became a necessity for self-preservation. As crossing borders became a distant dream, the band members met for weekly rehearsals to – at least musically and mentally – reach new destinations. Accompanied by some good brew, Utlandet tore away from everyday life by creating music from a world filled with voodoo, deserts and tropical heat. The instrumental ensemble discovered how rewarding it was to be working with melodic structures without having to put words to them and that they preferred an off-key sax to off-key vocals. Adding words to music can limit were the music takes you, as it often becomes more specific, but melody alone has no boundaries and can transport you to any galaxy. So just let go, close your eyes, and go where the groove and melody takes you.

Bones for Time signifie1s a watershed moment in Tongue Depressor's artistic evolution. Over the course of four expansive tracks, Henry Birdsey and Zach Rowden expound upon the formal and technical characteristics that have defined Tongue Depressor's oeuvre up to this point. Oscillating microtonal drones and spectral smears of pedal steel guitar are now augmented by the disembodied presence of tattered tape loops. The days narrow, dragged forth into a voidal expanse. Sometimes, the void looks back.(Adam Buffington)

Kelman Duran introduces LA’s Holodec to his Scorpio Red label with a debut album of flickering R&B torchsongs and ambient trap-soul that aches in a very special way. RIYL Dawuna, Burial, Junior Boys, MssingNo, claire rousay, Joy O, Triad God, Sampha…

The smouldering ’All Dogs Come From Wolves’ is a definitive statement by a quietly gifted artist who operates inside the long shadow of late ‘90s US R&B and the space where it intersects ambient, neo-classical, and the weightless bass interzones of contemporary UK club music. Bare boned and bathed in a dusky Californian half-light, the album’s 11 songs feel unnervingly stark yet full of tongue-tip sensuality, making a virtue of negative space and atmosphere with a lo-fi soundtrack-like quality that evokes the idea of nostalgic reflection as the route to the future; “a reminder to look to the past to remember where you’re from, to see where you’re going.”

Holodec's been assembling rugged dancefloor constructions for years now, teetering between 2-step, jungle, nu-rnb, and vaporous ambient forms, but rarely has he been as pointed or full-bodied as he is on ‘All Dogs Come From Wolves’. It's an album that can't possibly be cleaved from the place where it comes from, documenting LA's immigrant experience (Holodec is Asian-American), and finding thematic common ground with Space Afrika's "Honest Labour", absorbing prismatic reflections of footwork, rnb and hip-hop instead of trip-hop and dub techno.

Holodec croons soulfully over muted piano motifs on 'Tiles', evoking the spirit of Sampha or Dawuna, but with a gaseous glamor that's unmistakably Californian. The mood carries into 'The Wild', utilising wistful pads and saturated noise but refusing to let his music sink into the background. If you feel yourself drifting, there's inevitably a voice, a womp, or a stifled drum sound to drag you back into its presence. 'Bounce' is rhythmically heavy, but still somehow smudged around the edges; beats don't so much pump as fray, the closer you listen the more you hear it falling out of time and just out of space. It's more like a memory of neon-hued dance forms than a replication of the thing itself.

Even at the album’s rudest, the flinty jungle drums of ‘Black Market’ still remain desiccated, just out-of-reach, suggesting not telling, in a way that makes the album’s other highlights such as the vaporous R&B voice note of ‘And My Angel Dies Too’ or the shivering baroque figures of ‘Spirit’ so unusually seductive with their nuanced grasp of inference and a reserve of humility.

Originally released on Axis records! This story takes place around the year 3216, in which space travel is something completely contemporary. Humanity is going too far in pushing Mother Nature's boundaries, and now the planet is in danger. Only one person is capable of saving Earth from destruction. Our protagonist travels to other planets to see if there is anything that can aid him in calling the downfall of our home world to a halt. The fragments on this disc are actually snapshots, made in between traveling, amid the rushing realization that a resolution to save the planet must be found. Quickly. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

OMEGA INFINITY: Die Geschichte des endlosen Kreislaufs von Geburt und Tod, erzählt auf kosmischer Ebene, betrachtet aus der Leere, die die gesamte Existenz durchdringt.

Das Debütalbum "Solar Spectre" (erschienen 2020 bei Season Of Mist) bot einen düsteren und verstörenden Soundtrack für die Reise durch unser eigenes Sonnensystem, indem es wütenden Black Metal der 90er Jahre, harsche und bedrohliche Ambient- und Elektronikklänge mit kraftvollen Growls und Schreien kombinierte und bei seiner Veröffentlichung überwältigend positive Presse- und Fanreaktionen erhielt.

Nicht zufrieden mit nur einem einzigem Statement und einer größeren Vision für ihre Sicht der Leere folgend, hatten Tentakel P. (TODTGELICHTER) und Xen (NE OBLIVISCARIS/ ANTIQVA) zu diesem Zeitpunkt bereits ihr zweites Album fertiggestellt - nur die Pandemie verhinderte die Gesangsaufnahmen und somit eine frühere Veröffentlichung.

"The Anticurrent" eröffnete dem Hörer nun einen ganz anderen Blick auf Die Leere. Statt der Schwärze des Raums erforscht das Folgewerk die Zeit: Vom Urknall und der chaotischen Geburt des Universums geht es über den Aufstieg und Niedergang der menschlichen Zivilisation bis hin zum unausweichlichen Ende des Universums in dem bedrohlichen Finale des Albums.

Kein OMEGA INFINITY-Album wäre vollständig ohne Coverversionen (SEAR BLISS und EMPEROR) und die Beteiligung von Freunden mit Gastbeiträgen: Zusammen mit der Band kündigen (in der Reihenfolge ihres Erscheinens) Adrienne Cowan (SEVEN SPIRES/ AVANTASIA), Lindsay Schoolcraft (ANTIQVA/ ex-CRADLE OF FILTH), Andras Nagy (SEAR BLISS) und Marta J. Braun (TODTGELICHTER/ VYRE) den Untergang an

Wer schon immer mal wissen wollte, wie sich eine Unzahl von Schwarzen Löchern, die sich selbst in einer Zeitverzerrung verschlingen, anhört, sollte sich OMEGA INFINITYs zweites Album "The Anticurrent" nicht entgehen lassen!


Für Fans von: DARKSPACE, KHONSU, VALBORG, BLUT AUS NORD

Parisian DJ, producer and emerging fashion icon Kiddy Smile embodies the lifeblood of house music past and present. His music flashes with nostalgia for those mid-80s New York basements where house music first came alive. 'Teardrops In The Box' pulses with the intoxicating energy of a Ball in Kiddy's native Paris, with its deep-rooted traditions but its intensely forward-focussing culture.
Following up on his fearsome debut 'Let A B!tch Know' on Defected, Kiddy Smile has deployed the well-established remixing capabilities of Mystic Bill, a house champion from the underground schools of Detroit and Chicago. His 'Jersey Dub' eases back on the tempo for a syncopated strut to The Garden State, while the 'Vocal Mix' is a bulkier prospect, emphasising Kiddy's growling vocal with some serious attitude bass. Finally, his vinyl-exclusive 'Acid Mix' is specifically designed for getting twisted on dark, underground floors. Cowbell and raw synths give 'Teardrops In The Box' unadulterated dancefloor credentials but this is more than a club record; the layers to this track run deep.

The inception of 49North marks the beginning of a brand new era for Duncan Forbes; who most emphatically made his mark on the WW scene as one half of legendary duo - Spooky - alongside Charlie May; releasing a string of landmark singles and albums over 3 decades, not to mention timeless remix / production work for International heavyweights like Depeche Mode, M83, Sasha, William Orbit, Mr.G and Apparat.

A1: ‘Strobe Dancer’
“Duncan Forbes’ maiden solo voyage and first ever release on recently birthed imprint, 49North - 'Strobe Dancer' is 9+ minutes of exquisitely-paced, hypnotic dance-floor drama. Sitting somewhere between Deep, Acid House and Slo-mo, Dub Techno - Duncan's opening effort is a wickedly brooding, yet seductive joy to behold.”

B1: ‘Continental Drift’
“After the hypno-House stylings of 'Strobe Dancer' - Duncan takes us to another far-flung corner of his scopic, creative spectrum - via the fittingly titled, ‘Continental Drift’; a pitched-down, acid-glazed slice of mesmeric, widescreen Electronica.”

B2: ‘In The Mansion Of The Gods’

* Comes with an 8 page booklet **

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

Recorded in 1994/95 at PCP Labs. Mixed at Conway Studios. Except "Minus" recorded at G-Son Studios and "Ramshackle" recorded at The Shop, Sunset Sound and Conway Studios and mixed at Conway Studios.

All songs published by Youthless / Kobalt Music Publishing / Dust Brothers Music ASCAP except "Ramshackle", "Lord Only Knows" and "Minus" published by Youthless / Kobalt Music Publishing ASCAP

"Devil's Haircut" contains a sample from "Out Of Sight" (James Brown) published by Fort Knox Music BMI, performed by Them, courtesy of the Decca Record Co.; a sample from "Soul Drums" (Bernard Purdie) published by Tenryk Music BMI, performed by Pretty Purdie, courtesy of Sony Music; and elements from "I Can Only Give You Everything" (Philip Coulter/Thomas Scott) published by Carbert Music ASCAP.

"Hotwax" contains a sample from "Song For Aretha" (Bernard Purdie/Horace Ott/Robert Thiele) published by Tenryk Music/Well Made Music BMI, performed by Pretty Purdie; and a sample from "Up On The Hill" (Monk Higgins/Alexandra Brown) published by Special Agent Co./Tippy Music Publishing ASCAP, performed by Monk Higgins & The Specialties, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"Lord Only Knows" contains elements from "Lookout For Lucy" (Mike Millius/Don Thomas) published by Southern Music Publishing Company, Inc. ASCAP performed by Mike Millius, courtesy of MCA Records, Inc.

"The New Pollution" contains a sample from "Venus" (Brad Baker) published by Sonny Lester Music Publishing Co. ASCAP, performed by Joe Thomas, courtesy of LAC Ltd.

"Jack-ass" contains a sample from "It's All Over Now, Baby Blue" (Bob Dylan) published by Special Rider Music SESAC, performed by Them, courtesy of Decca Record Co.

"Where It's At" contains a sample from "Needle To The Groove" (Embden Toure/Khaleel Kirk) published by Hit And Hold Music, Inc. ASCAP, performed by Mantronix, courtesy of Warlock Records.

"Sissyneck" contains elements from "The Moog And Me" (Dick Hyman) published by Eastlake Music, Inc. ASCAP, performed by Dick Hyman, courtesy of MCA Records, Inc. and elements from "A Part Of Me" (Paris/Taylor) published by Zethus Music, administered by Chappell & Co., Inc. ASCAP. All Rights Reserved. Used by permission.

"Readymade" contains excerpts from "Desafinado" (Antonio Carlos Jobim/Newton Mendonca) published by Bendig Music/Corcovado Corp. BMI, performed by Laurindo Almeida And The Bossa Nova All Stars, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"High 5 (Rock The Catskills)" contains elements from "Mr. Cool" (Vincent Willis) published by Cotillion Music Inc./NAP Publishing Co./ Sylheart Publishing Co., administered by Warner-Tamerlane Publishing Co., Inc. BMI performed by Rasputin's Stash, courtesy of Atlantic Recording Corp., by arrangement with Warner Special Products, Inc.

The pandemic affected each of us in different ways. From colossal stars to complete unknowns, it up-ended our lives, and demolished our expectations.

Take Lil Skies. The Philly talent found himself back in his home city, completing a journey that began in pace on his 2017 mixtape ‘Life Of A Dark Rose’. Re-connecting with his roots – his moniker is a nod to his father, while 2019 debut album ‘Shelby’ named after his mother – he’s delivered some of his most potent, open material to date.

‘Unbothered’ is a tight, focussed return – a snappy 14 tracks, is exudes a sense of purpose, retaining the swagger of his debut while upping the word play. It’s an inward journey, one exemplified by those early viral singles ‘OK’ and ‘Havin’ My Way’ but it’s also lit up by some special guests.

Working with alacrity, Lil Skies built ‘Unbothered’ from a series of freestyles, yet every element on the album feels exact, placed with real precision. Using a mere three features – a trilogy that boasts Wiz Khalifa, Lil Durk, and Jodeci – the emphasis is placed on his vocals, on his ability to utilise the voice as an instrument.

‘Trust Nobody’ hinges on fragile paranoia, while ‘Riot’ bristles with a palpable sense of rage. An attempt to channel the repressed – and often extreme – emotions of the past 12 months, ‘Unbothered’ pitches a cool facade against a depth of feeling that often threatens to explode – just check out ‘Think Deep Don’t Sink’ for a mission statement.

Working within clear definitions, ‘Unbothered’ feels more distilled than Lil Skies’ previous work, the sound of someone choosing to work with what they know. Lyrically it’s marked by pain and redemption, lingering on messages of perseverance, and renewal. He may claim to be ‘Unbothered’, but the marks of the pandemic are there for all to see on a brave, at times powerful, new album

Upcoming release by AR.T comes around with two superb remixes by John Selway and Saverio Celestri!
Highly recommended!

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

blue marbled vinyl

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Announcing the release of Len Faki’s extended debut album, Figure x34 is the first in a series of special EPs that give a glimpse into the body of work which the label head has put together as Fusion over the course of the last two years. Using the double album format, Faki finally found himself free to explore the whole breadth of electronic club culture, inspired by decades worth of his own experiences as a DJ and clubgoer.

Don’t be Stupid Day, centered around the namesake vocal, is a slow-burning, deep techno roller, while Hymn (In The Name of Fantasy) contrasts a dreamy, wisp-like melody with heavy punches of broken up bass. Both cleverly represent the wide variety of sounds found on the more ambient and house-leaning disc 2 of the album.
Disc 1 is a contemporary take on the techno that has defined Faki’s life and career since the 90s. Hymn (In The Name Of Freedom) borrows on the trancey lead synths and booming bass from those early days, making for an unusually euphoric and uplifting Faki track. Finally, Tempel aligns with his reputation as a DJ, steadily layering mechanic percussion for an ever-increasing sense of rhythmic urgency.

A bold introductory statement, Figure x34 already gives an exciting taster of what is to be expected on the full double LP Fusion coming later this year.
Watch out for two more special EPs (x35 / x37) to be released ahead of the final album drop!

"In the late 1960's, Decca was playing to its strengths – mass marketing classical and easy-listening recordings just as it had been doing since the late 1920's. In April of 1968, Decca entered into a venture that would see its repertoire prominently displayed by non-specialist retailers, and after much resistance, it moved into the world of budget releases, with the beginning of its much loved ‘The World Of’ series in 1968.

The first album set out the series’ stall perfectly, focusing on one of the label’s biggest-selling artists. Its whole raison d’être was to drive sales of the artist’s repertoire: inviting consumers to dip in here and discover more, while the rear sleeve clearly offered the catalogue numbers of the parent albums.

Later, the World Of ’s would also become treasure troves for rarities and one-offs.nitially, the series stayed in the ‘Easy’ territory and by the end of ’69, 54 titles were available. Unsurprisingly, given the label’s heritage, classical repertoire would also become a mainstay.

The first classical LP was one of the early issues:
The World of Johann Strauss. The series treated classical music much like pop: compiling the most popular pieces and presenting them across two sides.

• 180 GRAM HEAVYWEIGHT VINYL • CUT AT ABBEY ROAD STUDIOS
• NEWLY-COMPILED SELECTIONS FROM DECCA’S ILLUSTRIOUS CATALOGUE • Please note: The World of Nothern Soul - previous orders still stand.

Aller Ende Anfang releases their first Various Artists EP, encompassing 5energetic tracks opening up a spectrum from breaky to straight, from powerful to dreamy. Side A pushes forward with flickering breakbeat electro by Icelandic Jadzia, whereas Bielefeld Murder Boys deliver a hard-hitting remix of Lord Pusswhip's "SVEIGÐ". Newcomer Unwucht strikes with a total rave hit, rounding out this driving side of the record.The more pensive side B opens up with "Splinters", an experimental and surging piece by crouds, which is accompanied by an ethereal and melodic breakbeat jam by aspiring Hungarian artist LAU.

2023 Repress

Marc Acardipane's Pitch-Hiker, originally released under Marc's Pilldriver alias, is without doubt one of the foundation tracks of European hardcore. From the moment it was released in 1995 it caused shockwaves with its stripped down, kick drum focused approach. Gone were the hoovers, sirens, breakbeats and vocal samples of that era's hardcore and instead a stark new minimalism emerged, focusing equally on the kick drum itself and the negative space and air around it.

Like all groundbreaking records it was soon followed by an endless stream of unofficial rip-offs, re-edits and remixes, none of which got close to the perfection of Marc's original. Now for the first time Pitch-Hiker gets officially remixed showing the level of trust Marc has in Perc Trax and Perc's own affection for PitchHiker and for Marc's enduring legacy as an electronic music innovator.

First up is Marc himself with his own take on his classic. Keeping the distinctive reverb soaked kick hits of his 1995 original mix he adds dive-bombing synths and scything hi-hats to increase the energy of the original mix without losing any of its dark charm.

Next label boss Perc adds more weight to the original's unmistakable kick drums, slowly building up the tension until his remix drops into the kind of noise assault not heard on Perc Trax since Tymon's devastating remix of Perc's own 'Hyperlink'. Kick drum specialists Ghost In The Machine step up next and work the original mixes' warping kick drums to the max. Updating and strengthening the track perfectly whilst keeping the sense of space that gave the original mix so much character.

Finally Sissel Wincent and Peder Mannerfelt team up for their Perc Trax debut following on from Perc's remix of 'Sissel & Bass' back in 2019. Flipping the script completely Sissel & Peder add multiple vocal hooks and fuse the original mix's 4/4 kick with half-speed broken beat rhythms to serve up a very different, but still successful interpretation of the original mix.

Originaire de Mongolie, The HU ne ressemble à aucun autre groupe de rock dans le monde. Depuis leur sortie, le groupe s'est hissé à la première place du Billboard World Albums Chart, à la première place du Top New Artist Albums, et au Top 5 mondial du Hard Rock Music Album Chart. Ils ont effectué de nombreuses tournées dans le monde avec des spectacles à guichets fermés en Europe, au Royaume-Uni et aux États-Unis. Après le succès de l'album The Gereg, qui a non seulement débuté à la première place, mais dont les succès rock viraux «Wolf Totem» et «Yuve Yuve Yu» ont atteint le Top 10 des radios rock. The Hu sont de retour avec un nouvel album, Rumble of Thunder. Cet album relie le monde à la culture mongole et à ses valeurs fondamentales uniques de préservation de la nature et de connexion spirituelle avec la terre.

REISSUE

Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Rather than the usual jam session, Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for this 1960 date. At the time of this recording, he had recently finished a stint with Charles Mingus" group and one can hear the subtle influence that association had on these sessions. The result is an album which ranges through many moods and many textures, which is why the album was titled, Color Changes. This brand new reissue is available on CD and LP (180g) and has been remastered from the original Candid Records master tapes by Bernie Grundman.

Recorded in just one day, Tripwire is the latest album from saxophonist and composer Will Vinson. Realising a long-held ambition to record a chord-less trio album, Vinson is joined here by bassist Matt Penman, one of today"s most adventurous bass players, and drummer Eric Harland, known for his impressive work with the world"s jazz luminaries. Special guest tenor saxophonist Melissa Aldana also joins for two tracks. The record captures the energy of returning to the studio and playing for the first time since the Covid-Pandemic lockdowns, and further cements Vinson"s reputation as a virtuosic risk-taking leader. Tripwire skilfully brings together Vinson"s vision of freedom and collaboration into a cohesive album that documents the highly charged reunification of musicians, masterfully captured during a one-off recording session.

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

Composer Valtteri Laurell Pöyhönen presents his Nonet formation on We Jazz Records. Their debut album Tigers Are Better Looking is released 3 Feb and the ensemble features internationally renowned Finnish clarinetist Antti Sarpila, plus a strong cast of Helsinki-based musicians from several of the top Finnish groups.

Based on the writings of British-Caribbean author Jean Rhys (1890–1979), the 6-track album is a melancholy, intimate chamber jazz creation. Laurell's music swings, yet he doesn't stop there, but moves further to paint an original, richly-toned sonic image with the highly potent Nonet.

Laurell states Gerry Mulligan, Miles Davis's "Water Babies" and Charles Mingus among the key musical influences of his compositions on this album. Through Rhys's text, Laurell finds a special sense of detachment and melancholy evident in his new material. Antti Sarpila's masterful clarinet provides the icing on the cake, floating high above the clouds of sound.

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

2023 Repress

Marc Acardipane's Pitch-Hiker, originally released under Marc's Pilldriver alias, is without doubt one of the foundation tracks of European hardcore. From the moment it was released in 1995 it caused shockwaves with its stripped down, kick drum focused approach. Gone were the hoovers, sirens, breakbeats and vocal samples of that era's hardcore and instead a stark new minimalism emerged, focusing equally on the kick drum itself and the negative space and air around it.

Like all groundbreaking records it was soon followed by an endless stream of unofficial rip-offs, re-edits and remixes, none of which got close to the perfection of Marc's original. Now for the first time Pitch-Hiker gets officially remixed showing the level of trust Marc has in Perc Trax and Perc's own affection for PitchHiker and for Marc's enduring legacy as an electronic music innovator.

First up is Marc himself with his own take on his classic. Keeping the distinctive reverb soaked kick hits of his 1995 original mix he adds dive-bombing synths and scything hi-hats to increase the energy of the original mix without losing any of its dark charm.

Next label boss Perc adds more weight to the original's unmistakable kick drums, slowly building up the tension until his remix drops into the kind of noise assault not heard on Perc Trax since Tymon's devastating remix of Perc's own 'Hyperlink'. Kick drum specialists Ghost In The Machine step up next and work the original mixes' warping kick drums to the max. Updating and strengthening the track perfectly whilst keeping the sense of space that gave the original mix so much character.

Finally Sissel Wincent and Peder Mannerfelt team up for their Perc Trax debut following on from Perc's remix of 'Sissel & Bass' back in 2019. Flipping the script completely Sissel & Peder add multiple vocal hooks and fuse the original mix's 4/4 kick with half-speed broken beat rhythms to serve up a very different, but still successful interpretation of the original mix.

Hailed by The Guardian as “the hopeful new voice of her super-sad generation” Arlo Parks released her second track in January 2019. At the time of release Arlo told Clash Magazine: "When I look at my generation I see a kaleidoscope of dejection, passion and anxiety – there’s this strange mix of sadness and intimacy that saturates Generation Z. 'Super Sad Generation' was inspired by the time my friends and I sat on the green at sunset, half wine drunk and ugly crying for no reason in particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from Space Song by Beach House and Changeling by DJ Shadow.

"The British songwriter captures the specifics of being young and messed up like no-one else" - Noisey

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skott and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skott: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso.

Yair Elazar Glotman is a Berlin based composer and experimental sound artist. Having trained in classical double bass and electroacoustic composition, he uses these traditions in combination with improvisation, with particular focus on analogue processes, to create textural and spatial works. In recent years, Glotman has been known for his notable pieces in film and media composition, working closely with influentential late composer Jóhann Jóhannsonn on acclaimed titles such Mandy (2018) and Last and First Men (2019), which he co-composed and produced the score. . Apart from his work in film and media, Glotman is a celebrated recording artist in his own right, venturing into dark corners of ambient drone and post-classical with acclaimed albums such as his 2020 album Emanate via Fat Cat’s imprint 13070, 2017 album Negative Chambers with close collaborator Mats Erlandsson released via Miasmah Recordings, and his solo album Études released in 2015 via Subtext, receiving him high acclaim from the likes of Pitchfork, Guardian, BBC 6 Music, The Quietus, Uncut, Electronic Sound and more.

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to Juju Funk / Return To Baron Samedi by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. Grab while you can. The tracks have already received very strong radio responses from around the world. Both tracks being supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, whilst Nasser Bouzida from the band discussed the rhythm influences of Return Of Baron Samedi on the Cerys Mathews show. Specialist funk shows from Australia, Germany, France, Canada and the US have already been supporting these tracks. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Juju Funk, B-Side – Return Of Baron Samedi

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

Kode9's most ambitious work yet as a multi-disciplinary artist, `Escapology' is the soundtrack album to the sonic fiction `Astro-Darien', itself soon to be released on Hyperdub sub-label Flatlines. Already available as a special edition CD and digital album, we now offer a 1000 piece limited pressing on lucent orange vinyl, in spot-gloss sleeve with additional artwork by Optigram. `Escapology' reconfigures `Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics. "A record brimming with ideas and novel sounds, departing from genre exercises to offer something genuinely different." - Album of the Month -DJ Mag "Kode9's most dextrous and intuitive club music yet, full of mind-bending rhythmic nuggets. He's still the brilliant master behind the scenes, quietly one-upping everyone else." - Resident Advisor "The 15 tracks become proper dancefloor scorchers _ `Escapology' builds a futuristic jumble of aesthetics and sound design." - The Wire

Brainwave research center is a new project from NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).

Conceived together over two years as musical thought experiments, brainwave research center’s debut album, figure 1, contains a genre-bending distillation of influences from experimental music (Steve Reich, Laurie Spiegel, Black Dice), 1990s ambient techno (The Orb, Pete Namlook/Fax Records), and Motorik/Kosmiche/Krautrock (Kraftwerk, Suicide, Manual Gottsching).

The songs embrace a raw, naive approach to sound design, instrumentation, and technical production to capture the feeling of experimentation of the works they are inspired by. Described by listeners as a mixture of Electronic, ambient, and kosmische/krautrock.

Recorded and produced in Greenpoint, Brooklyn in the back of Smith’s synthesizer/electronic repair shop, Specs Sales & Repair, Figure 1 is the first in a sequence of 4 works to be released.

Made primarily with TR-606, OB8, SH-101, MS-20, Fizmo, H3000, SDE-3000

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. "sum to infinity" is also the second release from gamut inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Sledziecki.

This second album by gamut inc combines custom-build autonomous music-machines with haunting classical synthesizer sounds to a dense musical kaleidoscope.
The core of the album is formed by Risset rhythms - cyclic accelerations and decelerations, in which rhythmic layers are repeatedly faded in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create an urgency and restlessness. The rigor of the construction is obscured by an orchestrion whose timbres are reminiscent of a retro-futuristic indigenous ensemble. gamut inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut inc. build their own music machines, play electronic music festivals internationally, curate the AGGREGATE festival for automated pipe organs, and compose for film, radio drama, and theater. Their first opera, ROSSUMS UNIVERSAL ROBOTS, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have been producing live music, music theater, film and theater scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO).
Their first release EX MACHINA was produced exclusively with music robots, and released in 2014 in cooperation with Bôłt Records.
"Percussion tracks bring to mind the music of Einstürzende Neubauten in their industrial mechanics, until finally the music warms to an expression reminiscent of Johnny Cash's late work."
Süddeutsche Zeitung

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album jacket as well. This package spotlights four of the very memorable vocalists on the album: namely Lisa Fischer (The Star Of A Story), Cindy Mizelle and Audrey Wheeler (Love Has No Time Or Place and Janine Sugah Lyrics Lyons (A Place Where We Can All Be Free).

Glasgow’s Seated Records return with more archival Scottish New Wave material; this time, in the form of Pop Wallpaper’s disco-not-disco interpretation of the Shuggie Otis classic, “Strawberry Letter 23”. And interpretation is the right word, guitarist Evan Henderson confesses that the lyrics sang by Audrey Redpath on the record were, “err inaccurate due to pre-internet home recording translation”.

The Edinburgh band first released “Strawberry Letter 23” in 1986 as a double A side 12” alongside original song, “Nothing Can Call Me Back". The 1986 record’s sleeve states that the original - “Strawberry Letter 23" has been “re-modelled for special pleasures, namely on the dance floor”. Here the re-model has been re-modelled once more. The track is recontextualised for 2022 playing on a four track 12” that includes an unreleased instrumental demo version of the track, as well as mixes from label founder Pigeon Steve and close friend of the label, Useful Tom.

Wallpaper’s first EP “Over Your Shoulder” was released in 1984. The release received a considerable amount of radio support, not least from Radio 1’s John Peel and Janice Long, which culminated with a live session for Long’s show at the BBC’s studios in London. Released a couple of years later, Strawberry Letter received similar levels of radio play. Despite (much to the band’s confusion) being tracked by Motown UK at one point, Pop Wallpaper did not go on to receive commercial success and eventually went their separate ways.

“Strawberry Letter 23” sits in the singular historical, cultural context of mid-80s Britain. Following the explosion of punk at the end of the 1970s, in the 1980s many British bands began experimenting with new styles and instruments - always keeping an eye firmly on their punk roots. The loose percussion and synthesiser melodies have an almost new-age, balearic mood, while the falsetto vocals of singer Audrey Redpath are an unmistakable embodiment the Post-punk style of the time. The prominent bass-line suggests a reggae or disco inspiration, and bass player Myles Raymond admits that he obsessed over a Sly & Robbie Taxi records compilation around the time the band put the tune together.

This reissue includes an unreleased, unheard instrumental demo-version of the cover, “SL23”. The band recorded the demo during an nighter at Wilf’s Planet studios in Edinburgh, just after Wet Wet Wet had just finished up their own demo for “Wishing I Was Lucky” (Pop Wallpaper all insist they thought it would never be a hit). In this version, we hear the band messing around with drum machines and synths which, in a similar style to Kevin Low and Fiona Carlin on Seated 001, creates a stripped back dance floor work-out that bares almost no resemblance to any version of “Strawberry Letter 23”. In an attempt to emulate the Trevor Horne production style of the time, the band’s drummer Les Cook recalls pushing for more and more reverb on the drums during the session to a reluctant producer Chic Medley, who “eventually obliged, but needed a lot of persuading”. Much to Cook’s disappointment “the reverb was toned down when we got to the final release”.

On the B side, label boss Pigeon Steve delivers a dubbed-out and acid drenched, cosmic rendition of the track with “SL24”, before Useful Tom (son of Pop Wallpaper bass player Myles Raymond) brings the EP to an end with spacey de-construction of fractured vocals and gliding synths on the B2 with “SL25”.

White Vinyl

Rico Friebe emerges with his emotionally charged double single „This Day“ and „Leave And Go“.

Born out of tragedy and hope, these songs are preluding his debut singer album „Word Value“ to be released worldwide in April 2023.

For the past 20 years Nostalgia 77 has become a catch all for the musical life of Ben Lamdin. His schizophrenic offerings range from songwriting sessions, soundtracks, excursions into Soul and in this case Jazz. The Loneliest Flower in the Village is an album that sees Lamdin reunited with longtime collaborator and arranger Riaan Vosloo and experienced veterans from a host of Nostalgia 77 projects.

'It had been a long time since we'd gigged or recorded so the idea was as much a little reunion in the studio as any grand plan to record an album' says Lamdin. 'The idea wasn't to do anything new (the material is both a few originals and a few covers), more just hear these players and their easy familiarity with each other after the disruption of Covid'.

Playing a clutch of originals by Riaan Vosloo and James Allsopp and covers by long term influences from South Africa such as Chris MacGregor and Abdullah Ibrahim, the emphasis is on strong melodies and open reaches for the soloists. The title track draws upon the song written by South African bassist Johnny Dyani and the result is spectacular; British jazz at heart but awash with references to South Africa and its strong jazz heritage.

'I'm pleased to say that I think this record is the best account of how the band (playing in this lineup since about 2010 ) sounds live. Full of energy and ranging from serene to firing on all cylinders.'

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

The fourteenth edition of Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering some of the best house music previously unavailable on vinyl. This special release celebrates all things Vintage Culture, who over the past ten years has established himself as an international powerhouse, reaching #11 in DJ MAG’s 2022 Top 100 DJs. The A-side of this four-track EP features two versions of his 2022 hit ‘Nightjar’. First up is the original collaboration with Australian house producer Sonny Fodera featuring vocalist SHELLS, followed by the Bassbin Remix by Italian producer and SNATCH! Records owner Riva Starr. Both versions of ‘Nightjar’ have universal appeal thanks to the diversity of its collaborators. A Vintage Culture collection would not be complete without some signature remixes; the B-side opens with his version of ‘Let It Go’ by Louie Vega & The Martinez Brothers with Marc E. Bassy. This is followed by a VIP remix of ‘It Is What It Is’, one of the DJ’s infectious original tracks and Defected debut featuring Canadian talent Elise LeGrow.

This is a licensed reissue of the track featured on the album “On The Beach”- Treasure Isle – 1967.

This gorgeous and haunting song boasts remarkable singing and musicianship allied to the finest song-writing.

A Rocksteady masterpiece that totally deserved being released as a single at last.

this is a special limited edition - strictly limited to 500 copies - one release only

The Paragons were originally called “The Binders”, a band that comprised Keith Anderson (better known as Bob Andy),

Garth Evans (aka Tyrone Evans), Junior Menz, and Leroy Stamp. In 1964 John Holt and Howard Barrett replaced Menz,and Stamp

and the name was changed to The Paragons. Anderson left in 1965, and The Paragons continued as a trio.

After John Holt left to pursue a solo career, Vic Taylor took Holt's place. The trio initially recorded two outstanding albums: the legendary

“On The Beach” 1967, and the equally good “Riding High“- later renamed “The Paragons with Roslyn Sweat” - in 1974.

Most of their many masterpieces come from these two albums... They carried on recording more albums, the latest being

“The Paragons Return” with John Holt. In 1980 Blondie covered their song "The Tide Is High" with great international success.

Today “On The Beach” is considered by many as the definitive Rocksteady L.P…