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After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.

Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.

The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.

For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.

Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.

Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.

With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!

Last May, Hard Times captivated us with The Lost D.A.T.S (Part One)—a remarkable collection of unreleased and freshly unearthed gems from the vaults of NYC legend DJ Romain. But the story didn’t end there. To our surprise and delight, Romain had delivered an even larger treasure trove of beats—too many to reveal all at once.

Now, Hard Times is proud to present the next chapter: DJ Romain – The Lost D.A.T.S (Part Two).

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

Tearra’s “Just Loving You” on it’s original U.S Midtown label due to its quality and desirability continues to regularly achieve four figure sale prices on the rare occasion that a copy comes on to the open market. Soul Junction through a licensing deal with Emandolynn Music first reissued this modern soul anthem back in 2017 as part of a dual 45 package that included the previously unissued Delights track “Listen To Me Girl” with the limited 500 copy pressing run selling out in a matter of days. Since then, copies of that Soul Junction release have regularly sold for circa £60 a copy with sales enquiries still being received for either side of this 45 to this day. Therefore, we at Soul Junction have decided to fulfill this continued demand by reissuing “Just Loving You” for the second this time paired with Teeah-Louise’s “You Happened To Me” as the featured flipside (reissued for the first time).

Tearra, real name Teeah-Louise a native of Mobile, Alabama was offered a recording contract by Philadelphian Record Producer/Label Owner Manny Campbell Jr during 1980. Campbell himself had relocated his Emandolynn Music operations from the city of Brotherly Love to Atlanta, Georgia some two years earlier. Campbell had planned to record a whole album on Teeah-Louise under the working title of “Great Love”. He firstly released a lead 45 single, the mid-tempo “You Happened To Me/Got To Keep You Mine” on his Coastal label logo with the artist credited as Teeah-Louise. Teeah’s fiancé didn’t share his future wife’s ambitions of a recording career and her prospective album project faltered and was never completed. Although as a further two tracks had been recorded this allowed a for second 45 release to follow “Ooh Let This Feeling (Last A Long, Long Time)” backed with the desirable “Just Loving You” these were released on the Midtown label, with Midtown by then being Coastal Records main record distributor. This second release was credited under the artist name of Tearra, due to Teah-Louise by now not wishing to use her real name. Both the Coastal and Midtown releases were only ever pressed in 500 promotional copies runs. Teeah-Louise left the recording business for good soon after her marriage.

In addition, a later 12” Coastal Records single issued on the group ‘Tomorrows Wish’ featuring the song “My Love For You” which shares the same backing track as Tearra’s “Just Loving You”. All four of Teeah-Louise’s songs were wrote by Manny Campbell, with Manny sharing the songwriting credits on “Ooh Let This Feeling (Last A Long, Long Time)” with his cousin, Keith “Toppie” Hill notably a former group member of the aforementioned ‘Delights’.

‘One of the finest jazz guitarists of her generation, Halvorson is possessed of a questing, restless spirit.’ – Jazzwise

‘With an album of string quartet music as strong as this one, she is worthy of as much renown in the classical field as she holds in the jazz community.’ – New York Times

‘One of America’s finest guitarists. Halvorson’s musicianship is open-minded, demanding and richly engaging.’ – Uncut

Nonesuch Records releases Cloudward by Brooklyn-based guitarist, composer, and MacArthur fellow Mary Halvorson on January 19. The album features eight new compositions by Halvorson, performed with her sextet Amaryllis, the improvisatory band that performed on her critically praised 2022 albums Amaryllis and Belladonna comprising Halvorson, Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet). Labelmate Laurie Anderson also is featured on the album track ‘Incarnadine’. Halvorson and Amaryllis will tour internationally following the release of the new album, including January dates in Europe, as well as at the Big Ears Festival as part of Nonesuch’s 60th anniversary celebration.

Halvorson says, “All of the music on Amaryllis was written in 2020, during the thick of the pandemic, in one of the more bizarre time periods I’ve experienced in my life. While composing for Amaryllis, I expanded upon certain musical concepts I’d developed in my life up until that point—the ones that felt fruitful—and left others behind, hitting the reset button and attempting to build from scratch. Two years later, after the release of the first album, I was still writing music for Amaryllis.

“All the music on Cloudward was written in 2022, mostly in the fall and winter, when things started moving forward. Life felt like a creaky machine starting up again,” she continues. “Air travel, however chaotic, had resumed, and we were once again cloudward. Performances and tours and recordings were happening after a long hiatus and with a renewed sense of gratitude. This band, for me, was quite simply working, both musically and personally, and the main thing I felt while writing the music was optimism.”

The Guardian said Halvorson’s 2022 double release “shows how far this single-minded original has come, and affords a glimpse of how far she may go. Both sessions confirm how years of jaggedly lyrical solo and ensemble improvising and a quirkily subversive affection for mainstream music have now nurtured a composer of unpredictable but warmly expressive character… These are new landmarks in Halvorson’s already inimitable discography.” Pitchfork said, “Amaryllis and Belladonna are distinct statements; one could hear either album on its own without a sense that something is missing. But they are most powerful when taken together, like a landscape and its reflection in rippling water.”

Halvorson has released a series of critically acclaimed albums, from Dragon’s Head (2008), her trio debut featuring bassist John Hébert and drummer Ches Smith, expanding to a quintet with trumpeter Jonathan Finlayson and alto saxophonist Jon Irabagon on Saturn Sings (2010) and Bending Bridges (2012), a septet with tenor saxophonist Ingrid Laubrock and trombonist Jacob Garchik on Illusionary Sea (2014), and finally an octet with pedal steel guitarist Susan Alcorn on Away With You (2016). She also released the solo recording Meltframe (2015), and most recently debuted Code Girl (2018, 2020), a new ensemble featuring vocalist Amirtha Kidambi (singing Halvorson’s own lyrics), trumpeter Adam O’Farrill, saxophonist and vocalist María Grand, bassist Michael Formanek, and drummer Tomas Fujiwara.

One of New York City’s most in-demand guitarists, over the past decade Halvorson has worked with such diverse musicians as Tim Berne, Anthony Braxton, Taylor Ho Bynum, John Dieterich, Trevor Dunn, Bill Frisell, Ingrid Laubrock, Jason Moran, Joe Morris, Tom Rainey, Jessica Pavone, Tomeka Reid, Marc Ribot, and John Zorn. She is also part of several collaborative projects, most notably the longstanding trio Thumbscrew with Michael Formanek on bass and Tomas Fujiwara on drums.

10, 9, 8, 7, 6… the countdown to blastoff has started! Paris-based band Setenta is preparing for their upcoming 20th anniversary by releasing their sixth album, Apollo Solar Drive. The record is poised to be their best yet and is the culmination of an odyssey of artistic discovery. Setenta has been constantly striving for illumination through the years, yet also exploring the dark side of the human condition along the way. As the band describes it, this record is an Afro-Latin retro-futurist tribute to the sun. If their previous album, Materia Negra, launched the Setenta space shuttle crew into the void of “dark” matter and black holes, they now change course and valiantly approach the sun at full warp speed, taking us from darkness into the light. Miraculously, Setenta manage to bring some of the rhythmic and harmonic material they’ve explored on Earth with them, yet boldly dare to go where no one has gone before, challenging themselves to take their music, and their audience, to uncharted dimensions and new realms of existence.

In keeping with the themes of Materia Negra, FIP (Radio France) selection in 2020, Setenta’s sixth mission to explore “the great beyond” of “inner space” is aptly titled Apollo Solar Drive, emphasizing the band’s turning to the life-giving light of the sun for inspiration while playfully echoing the title of Eddie Palmieri’s Latin funk and social commentary masterpiece, Harlem River Drive. The overall vibe is warm and positive, propelled by the dual energy thrusters of funky, fierce beats and deceptively complex arrangements, yet going down smooth in the best sense of the word, like your favorite tropical cocktail or classic jazz dance fusion record of the 1970s. Of course this delicious treat is served with a special Setenta flavor all its own.

This time around, Apollo Solar Drive celebrates the trajectory of the band’s unique interstellar journey by deploying a resolutely jazzy, “funkadelic” angle to their beloved Afro-Latin music. Setenta’s band members tell their truths as a collective, with an emphasis on instrumental sections, focusing on the interweaving of multiple keyboards and guitars, while condensing the vocals to group choruses, as opposed to the solo voices of the past. The overall approach is more futuristic in its conception and realization, from the arrangements to the sonic engineering, although the rhythmic base still remains rooted in Afro-Cuban traditions as well as those of other Caribbean nations.

Pablo E. Yglesias (DJ Bongohead) of Peace & Rhythm (USA)

Follow-up album to cult-classic debut, Mantra Moderne.

‘Melodi’ is the second album from captivating duo Kit Sebastian (aka Kit Martin and Merve Erdem). Those familiar with the band's cult classic 2019 debut record 'Mantra Moderne' will instantly recognise their unique sound that blurs boundaries of world music, jazz and psychedelia. Not to be content replicating the same album, sonically the feel of ‘Melodi’ is a maturation. It is more diverse and provides glimpses into many different worlds from the Italian Riviera to the mountains of the Caucasus, the beaches of Bahia to the city streets of Istanbul and Paris. This joyous merging of soundscapes evokes a borderless planet with music as an international language, belonging everywhere and nowhere.

‘Melodi’ is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.

The music was written during the first UK lockdown and recorded that summer, a time of opening up that only briefly existed. In a world with a slower pace than before the Covid crisis, the band were able to spend more time experimenting in the studio. The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. Session musicians and friends were also booked to introduce trumpet and string sections giving the album an added depth and orchestral texture. Despite the added complexity, the album was recorded using the same techniques employed for the previous album with various tape machines, bouncing back between cassette and ¼” tape for practicality and sonic abstraction. To pierce through this abstraction, the vocals are intentionally more expressive. Merve took cues from the Turkish singers of her youth, adding a slightly more melancholic, darker and more reflective style than 'Mantra Moderne’. Rooted in observations from everyday life, they speak often about the worlds and thoughts that arise from the end of the night.

Like with many of the best albums, the record seems over all too soon and has you instantly wanting to play it again. On each listen you decide on a track that you think is your favourite from the album only for it to be replaced with a different one on the next listen. The songs and production have hidden depths that seem to evolve and morph the more you devour them. Moments of pure pop, moments to fall in love, moments to contemplate. This journey is rich in musical vitamins and nourishment, but like all the best things still leaves you wanting more.

RIYL: Sufjan Stevens, Pearls Before Swine, Richard Dawson, Incredible String Band, Scott Walker. When Dominic Harris started work on the follow up to 2017’s “Rural Tonic”, he had a different kind of landscape in mind than the bucolic inspiration he’d mined for that album and its predecessor (2013’s “Woodland Casual”). Instead it was nostalgia for winters of a youth (mis)spent in 90’s Berlin.

With a lucky find of a Hohner Guitaret, (a 1960s electric thumb piano), Harris began writing lyrics around its sparse and austere accompaniment. And after reconnecting with an old friend from Edinburgh, Ricky White, now living in the USA, the plan became clearer: a winter-journey to the rural Mid-West to write and record an LP. Convening in White’s new hometown of Bloomington IN, Harris would work each morning in the county library, the pair then venturing out on long, aimless drives down country roads before returning to put their ideas and conversation into music. With songs written over two weeks, Harris and White headed to a small studio space in a derelict strip mall in Indianapolis, to capture the album in as minimalistic a form as was fitting to the wintry feel of much of the music; glimmers of pedal steel and recorder shining out amid the dual acoustic guitars and piano arrangements. After the pandemic cut its swathe through all plans, the recording sessions decamped to Scotland.

By then Harris’s longtime collaborator Robert McFall had written string arrangements for each song, effortlessly capturing the spirit of the original vision whilst elevating each song towards the universal. Still there were the frosty hedgerows and abandoned factories of the rural Rust Belt. But also now the sandstone architecture and cobwebs of Edinburgh, and the cold grey of the Firth of Forth. Diminuet, the cover artwork showing a catheter transformed into a flower, captures that fragile moment where the world seems forever frozen in time, even as the Spring prepares to transform us all once again

Nearly two decades after it was first released, Norken’s sleek cult classic album ‘Our Memories Of Winter’ is being reissued on vinyl via Hydrogen Dukebox on 6th December 2024.

With its unique sonic blueprint of early 2000s electronica, ‘Our Memories Of Winter’ is a record that is at once both deeply reminiscent of a particular era and place, yet remains a timeless invocation of Norken’s idiosyncratic palette of minimal, techno, house and British IDM.

This vinyl reissue presents all 12 tracks from the original release, with the inclusion of 'Df23' and 'Flirt' making this the first time that ‘Our Memories Of Winter’ is available on vinyl with the complete album tracklisting.

Norken is one of the many pseudonyms of Lee Norris, a producer who is considered by those in the know as one of the unsung heroes of UK electronica. With a slew of releases throughout the years as Man-Q-Neon, Nacht Plank, Norken, Tone Language and Metamatics, this reissue shines a light on his soulful, immersive output under the Norken name.

As Norris explains, “The release of ‘Our Memories Of Winter’ has a nostalgic, warm feeling for me. I made his album in a garden shed with a wood burner, an Atari computer and a few synths in the depths of an English winter. I still had the thought process of making emotional style techno that would warm any soul on a cold day.”

First released in 2005, ‘Our Memories Of Winter’ carries the echoes of electronic luminaries such as the Detroit ambient techno of John Beltran, through to the immersive atmospherics of Biosphere and the innovative IDM of fellow British outfits Autechre and The Black Dog. Yet as Norken, Norris retains a distinctive musical voice that has continued to deepen in stature over the years since the album’s initial release.

Opening with the brief intro cut ‘Fern 2’, the album slides into the dreamlike groove of ‘Memories’, where rich, resonant chords wrap around cool, galactic-sounding synths and a compelling bass undertow.

On ‘It Might Have Been Rain’, that signature bass texture again propels a luxuriant mid-tempo rhythm, while Norken layers in hypnotic washes of string-like synths, gentle electronic pulses and the brief murmur of a vocal, across seven-plus immersive minutes.

Vocal textures, often subtly looped and distorted, also add a distinctive depth and personality to tracks like ‘Eastern Soul’ and ‘Here’. Throughout the album, there’s a feeling of intricate microcosms unfurling, as Norken coaxes a myriad of contemplative moods and emotions from his machines.

Whether shaping the smooth, lulling ambient gauze of ‘Ty Canol’, or letting the kaleidoscopic, dancefloor-leaning drive of ‘Audic Strable’ loose like a coiled spring, ‘Our Memories Of Winter’ presents the singular voice of an artist whose innovative contribution to UK electronic music has only become heightened with the passing of time.

After high demand, Fred again.. releases a repress of Actual Life 3 (January 1 - September 9 2022) on March 31st after almost immediately selling out of vinyl copies upon the original release. the third in his series of Actual Life albums.

Actual Life 3 (January 1 - September 9 2022) is the third in his series of Actual Life albums, which saw Fred again.. resume his diary-esque approach to production using intimate use of voice notes from friends,
videos found whilst scrolling on Instagram and samples from important records in his life. It was an autobiographical
chapter of work that pushed forward the heritage of UK electronic music while standing as testament to the power of music in facilitating catharsis, healing and celebrating the realities of friendship, love and life. The album was
instrumental in his breakthrough as a global artist and debuted at #4 in the UK album charts, becoming the highest-
streaming new release globally on Spotify on its first weekend.

The album features his hit singles Danielle (smile on my face), Delilah (pull me out of this), Kammy (like i do) and Bleu (better with time). The repress remains on a clear vinyl, but this time round the vinyl comes in a black inner bag and the tracklist now mirrors the digital tracklist.

Fred has quickly become one of the most talked about live acts as he transformed his Actual Life records into an immersive, communal real-life experience for the first time, selling out shows across the UK and USA. Fred again.., Skrillex and Four Tet recently did a series of pop up events across New York, culminating in a record breaking sold out, 5 hour b2b set at Madison Square Garden. Also been announced that Fred will be performing the penultimate slot at this year’s Glastonbury Festival.

Fred’s recent Boiler Room performance remains one of the most viewed Boiler Rooms to date, surpassing over 16 million views.

While autumn is slowly getting its grip on the city of Vienna, the Luv Shack bakery hasn’t been sitting still, and now there’s a delicious new batch of Disco Biscuits!
This time with lots of surprising new flavors by Rising Seed (“Back For More” - Indian spice, extra Disco sprinkles!), B.Visible (“Suffering of KP” - bold and crispy with a bittersweet aftertaste!), Peletronic (“Drifting” - robust and very deep, good for late hours!) and Jon Gravy (“When You Leave”) - LOTS of sugar, 90s bubblegum!
Get yourself a biscuit, will ya?

DINTE presents a cassette-only two-part Japanese post-punk, goth & new wave mixtape, the first in a tranche of regionally-focused mixes produced in partnership with Philadelphia's punk archivists World Gone Mad.

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Nummer Music are proud to present the first reissue of Paul Mahoux’s seminal BùLù project.

The Parisian (now Okinawa-based) producer released “Silicon-Shepherd / Senegalese-Sharpshooter” 30 years ago today on the french label Virtual.
Both cuts give a unique insight into the sound of the early Trance scene and travel beyond the boundaries of Techno & House. Whether you’re revisiting the past or experiencing them for the first time, they still stand as a testament to the free spirit of the early ‘90s.

On side A, the bouncy Silicon-Shepherd shows off BùLù’s singular sampling techniques: chopped up vocals, tripped out synths and a touch of M1 slap bass take you into unexpected peak-time territories, where euphoria meets deep mind-travelling (i.e. DMT).

On the flip, Senegalese-Sharpshooter unveils another facet of BùLù’s buoyant universe. The french producer slows down the pace and invites the listener on a magical meditative journey, the lullaby-like theme tune shacks up with ancient traditional instruments and mystical choirs, again freed from any sort of constraint of style or genre.

On remix duties, Nummer’s very own E-Talking gives Silicon-Shepherd a club lift while our beloved Caldera injects Senegalese-Sharpshooter with a heavy dose of his signature swampiness.

Cameron Jack returns to Crosstown Rebels as he delivers his first EP on the label with ‘The Late Shift’. The release, set to drop on 6th December 2024, delivers a standout offering featuring two collaborations with vocalist Liz Cass and two solo productions from the fast-rising house music talent.

London-born, Ibiza-based DJ/producer Cameron Jack has quickly become a name on the up, having been championed heavily by Crosstown Rebels’ founder Damian Lazarus, as well Blond:ish and Lee Burridge. While still young in his musical journey, 2024 has seen him sharing stages with heavyweights such as Seth Troxler, Jamie Jones and DJ Tennis. His five-show residency at Hï Ibiza coupled with appearances at Extrema Outdoor, PHAEX Festival, Get Lost Mexico and Fabric London as well as an upcoming Asia tour to round off the year, has cemented his rise as one house music’s most in-demand up-and-comers. Having previously appeared on the label as part of Crosstown’s SPIRITS VA series, and adding to releases via Knee Deep In Sound, Abracadabra Music, and All Day I Dream, Cameron now returns to Lazarus’ brainchild with his first EP on the label as he unveils a refined exploration of his late-hours sound with ‘The Late Shift’.

The EP kicks off with two collaborations featuring singer/songwriter Liz Cass, whose vocal talents have graced tracks from Hot Since 82 to Nora En Pure. The opening track, ‘Dusk Till Dawn,’ pairs deep, rolling grooves with Liz's seductive spoken word vocals, setting the tone for the late-night atmospheres that define the release. ‘Move Your Body’ follows, with driving rhythms and infectious energy, inviting listeners to get lost in dancefloor moments. On the flip side, Cameron showcases his prowess further with ‘Get High And Dance’, bringing a captivating fusion of rolling percussion grooves and playful tones, before ‘Won’t You?’ rounds out the EP with another drum-led workout perfect for keeping dancers in motion.

Peppermint Jam is proud to present Mellow Man’s latest release, 'In A Flow', an EP that takes you on a sonic journey through time. With three distinct tracks, this release captures the essence of three different eras of groove: the 70s, the 90s, and today.

Mellow Man has been with us since our founding days in 1994 and is a master of THAT old school sound.

First up, 'In A Flow' throws you straight into the golden age of 90s house music. With its smooth grooves, uplifting melodies, and driving bassline, this track embodies everything we love about classic house.

Next, 'Rumpshaker' brings you right back to the present. This track is all about today’s sound—fat beats, tight production, and a bass to die for, designed to keep the dancefloor moving.

Finally, 'Ghettoblaster' takes you even further back to the early 70s. Featuring the soulful sounds of Artist Locmelis on the tenor sax, this track is a nod to the funk-infused, boombox culture of the era.

Mellow Man produced these tracks using a mix of vintage and modern gear, including the Korg MS 20, Akai samplers, and a Rode NT1000, to name just a few. The result is a rich, textured sound that honors the past while still feeling fresh and relevant today.

With its blend of eras and styles, "In A Flow" is a must-listen for anyone who appreciates the evolution of house music.

Repress
Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavour than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-90s with a series of jacking machine funk 12”s that showcased their savvy for self-control - a faculty they have demonstrated in releases year-on-year since.
Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7’s debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing Unusual Channel (mixed by the master Blake Baxter), and the harder-edged VII resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released.
Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7’s leader, Trackmaster Lou, clearly had when writing “I hope you enjoy my records in the phuture to come” in the sleeve notes nearly 30 years ago.

Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. From 1974 to 1985 he traveled the world studying African, Indian, Arabic and Oriental music, recording ethnic music “in the field,” studying and collecting ethnic musical instruments from all over the world. His self-produced debut album, “The Loa of Music,” is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent “Water messages on desert sand,” composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. In the 1980s and 1990s he broadcast ethnic and electronic-experimental music from Rai and Radio Popolare radio stations. He has also composed and played music for videos, commercials, dance, poetry, theater, composed soundtracks and accompanied silent films live. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett and the Third Ear Band.

The theme of travel, ethnicities and mysticism are a pivotal point in this new album of his as well, demonstrating once again how music needs absolutely no sharp lines of demarcation. The music is one.

It goes from the search for deep meanings in a time spent in a Hindu monastery (Ashram) listening to mantras and studying Buddhist philosophy (The Principle Of Things) to space explorations and human settlements on the Moon or Mars wondering how man will live and what he will bring to the new worlds imagining that Sufism, an Islamic mystical religion, will accompany him in the discovery of new worlds (Derviches On Mars). In Goodbye Monsters, harmony and peace are sought. Memories Of A Piano Player is a tribute to Keith Tippett, a great pianist (King Crimson , Centipede, Mujician) with whom he played in several concerts and with whom I spent evenings talking about music, food and Italian wine. Quantum State focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. Panthalassa is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. Burn The Shadows is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. Shadows are also more or less pleasant memories to which one is attached, and to burn them is still to move on with one's life.

Torajan Funeral Chant: The Toraja are a people living in Sulawesi (Indonesia) who have a special worship of the dead. Funerals are festivals that last several days, the corpses are protected by Tau-Tau (small dolls that watch over cemeteries), and over the years, they exhume the corpses of their relatives and keep them in their homes with them for a time to remember them.

The experimentation goes all the way to modern Artificial Intelligence that 'interrogated' to create something new by inserting conflicting inputs joins them together but nonsensically creating interesting insights; hence A.I. In Confusion. Pangea, named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes.

Favorite Recordings proudly presents this new 7inch single release, filled with 2 beautiful tracks previously compiled on the famous and now almost sold-out, AOR Global Sounds series.

First comes “What Its Meant to Me” by Jonathon Hansen. Self-produced and self-released in 1978 by Jonathon, this is another perfect recipe of AOR soulful style. Jonathon Hansen told us a bit about its story: “’What Its' Meant To Me’ was a song I wrote about the breakup of a band. As with a lot of my songs, I always write them to be about more than one thing. Primarily relationships. The song was recorded in Costa Mesa, CA at Sunwood Sound Studios. It was recorded with fellow bandmates and other musician friends.”

Another top track from the series comes next, with “It’s Always Something With You” by Jeff Silna. Originally only released on a promotional radio compilation, it was reissued by Favorite Recordings in 2017 on the 3rd edition of the AOR Global Sounds series and is still now in high demand. Here again Jeff Silna reminds: “This track was recorded at TK Studios, credited with the inception of disco music and pumping out what were considered the first Disco hits. TK created what’s known as the Miami sound. I was fortunate to work with some amazing musicians like guitarist Sheldon Stauber and players from the U of M Jazz Band, which was tops in the country at the time. My influences were funk and soul bands like Earth Wind & Fire and Average White Band.”

Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.

‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".

For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.

Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.

Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.

To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.

In the intricate maze of Tokyos neon heartbeat, Yuki Takasaki, known as Altone, creates a world where time and sound dissolves into dub techno. Altones work, steeped with an old-school sonic palette, is a symphony of resonating bass lines, rustic layers and delicate synths, crafting a port rait that connects the fleeting with the timeless. Altones music t ranscends mere sound, offering an invitation to explore the shadowy corridors of consciousness and minimal dub aesthetics. Each original track unfolds like a tranquil journey through an urban nocturne, haunting and beautiful in its harmony. Brendon Moeller, a master of dub techno, reimagines Altones >Self Replication< In two distinct yet sonic territories. The first remix pulses with a futuristic rhythm, its syncopated beats dancing on the edge of awareness. The dub remix, by cont rast, plunges into a vortex where liquid acid intertwines with hypnotic bass lines, conjuring a dreamscape infused with laser guided drums and crystalline texture. Through these remixes, Moeller crafts a sonic voyage that weaves through the complex tapestry of the dub landscape and keeps reminding us that the territory is still vastly unexplored.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

Fan Club Orchestra (FCO) has its roots in collaborative performances and recordings that began taking place in the late nineties in Brussels. These continued into the second decade of the new millennium around Belgium and neighbouring countries. At a time when large contemporary arts spaces were less professionalised, less obedient to
funding and attendance numbers, and Still tuned to their founding DIY impulses, FCO were able to nurture their nebulous cast of players with their unconventional ensemble of instruments to their own ends. The apparent informality of their performances, mixed with the sheer spectacle of their unfolding, transplanted the experimentalism of New York's downtown scene of the 1960s into the cracked consumer electronics period of new media art at the turn of the century. A newly regrouped FCO now present their album 'VL_Stay' on 12th Isle. This literation of FCO sees Baudoux joined by Ann Appermans on guitar and bass, and Zéphyr Zijlstra on trumpet. Appermans is an original FCO member as well as a frequent collaborator with Baudoux. Zijlstra is a jazz student at the Royal Conservatoire of Brussels. Recorded in just two weeks, the trio invoke the pedigree with which FCO first toyed, while sketching a continuity with new references.

September 26th, 1994 - Jamiroquai released a song that still to this day sounds futuristic. Blending electronic, funk, jazz, soul & pop.

The record was then famously remixed by the legendary David Morales, taking the song to a whole new audience and anthem level… giving the band their first ever Billboard Dance #1.

The iconic music video was directed by Vaughan Arnell & Anthea Benton, and features Jay Kay dancing around a blue room with multiple versions of him and the other band members appearing and disappearing. The use of motion control photography allowed for a seemingly continuous shot as the camera pans around the room.

2024, Michael Gray delivers a modern club interpretation of the classic Jamiroquai anthem on his Sultra Records imprint.

Keeping the original funk, soul undertones of Jamiroquai, he takes us on a housey ride of funky disco rhythms laden with hi-pitched synths, a soul oozing chord melody and grooving drum pattern that sits relaxed allowing the emphasis on Jay Kay’s vocal and new worked bass line to do it’s thing. A lovely alternative to the dance floor classic we all know and love.

Written, Produced, and Mixed by: Antoine Eole (aka In da Woods) Vocals on Tracks A5, B1, B2 by: Alex Catrine Le Thomas de Selve Track B1 contains a sample of: “And Birds Are Still” by Takashi Yoshimatsu Mastered by: Stephan Mathieu at Schwebung Mastering Original Artwork by: Barbara Orsingher Layout by: Riccardo Piovesan Limited Edition of 100 copies transparent In da Woods is the sonic project of Paris and Berlin-based composer and sound designer Antoine Eole, formerly of the electro-rock band Bad Pilot. Known for his work across TV series, documentaries, theater productions, and major ad campaigns (MTV, Disney, Hermès), Antoine blends cinematic soundscapes with the raw edge of experi- mental and future garage music. With Nuit Blanche, Antoine explores atmospheric and bassdriven compositions, featuring the ethereal vocals of Alex Catrine Le
Thomas de Selve

Despite their early success, The Valentinos’ story was, like many other groups, a ‘what might have been’ story. But there could not have been a more hardworking group. Every night, Friendly Womack Sr. taught his boys all the gospel songs he knew before he kicked them out of the house because they wanted to switch to secular singing.
“Bobby, you’re singing too church!” shouted Sam Cooke across the recording desk at the United Recording Studios in L.A. to Bobby and his brothers…
Still torn here between gospel and secular singing, Friendly “June” Womack told me about both these two lost tracks from the group: “Between you and I, we were looking hard to get another ‘Looking For A Love’. We were desperate for that, as that was such a big seller for us”.
Ultimately these sides failed to be released, yet they were both great tracks. Wouldn’t it be great though if, this time around, Soul4Real Records were able to hang out the ‘sold out’ banner that all the Womack brothers really deserved?

We’re teaming up with ELUCID and Fat Possum for a limited edition of 300 copies of a Rush Hour black ice coloured edition.

E L U C I D, one half of the illustrious duo Armand Hammer, is here with the full-length follow-up to 'I Told Bessie'. Further experiments in the sonic, expanding on the 'live' side of music paired with the embracing of chaos. Something you haven't heard, or not so for a very long time. E L U C I D is here to reveal the bleakness of reality.



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''There is never time in the future in which we will work out our salvation. The challenge is in the moment; the time is always now.''
James Baldwin

A raw, crackling urgency runs through rapper-producer ELUCID’s new album REVELATOR like an underground power line. There is no space here for sepia-toned reminiscences or indulgent self-mythologizing. Intellectual rabbit holes have been filled in with concrete and rebar ; there is nowhere to hide and no off ramp from the audio Autobahn that ELUCID has fashioned—a renegade Robert Moses with gold fronts, bulldozing the homes of the powerful and the complicit. REVELATOR brims with the energy of now, with a refusal to look away. Carpe diem in a murder one mask.

Born in Jamaica, Queens, ELUCID has been on the cutting edge of New York’s underground scene since the mid-2000s. From the beginning, he has defied both convention and expectation. He ran with Okayplayer darlings Tanya Morgan, but his own music eschewed their throwback charm for glitchy noise experiments and bass-swamped culture jamming. His 2016 debut studio project Save Yourself (re-released in a deluxe edition last year) announced him in earnest. But in recent years, his Armand Hammer releases with partner-in-crime billy woods have received significant attention and acclaim. Serving as a followup to his last solo album—2022’s comparatively balmy I Told Bessie—ELUCID hoped to “re-distinguish” himself with REVELATOR, setting himself apart amidst the increasing attention around the music he and his friends are making together.

For ELUCID, this meant setting bold new challenges for himself. One of these was diving further into live instrumentation than ever before—”getting my Quincy Jones on,” as he puts it. The testing ground for this approach was Armand Hammer’s most recent project, 2023’s We Buy Diabetic Test Strips’ Möbius strip soundscapes, warmed with instrumental flourishes and skin-shedding beat progressions. With REVELATOR, though, ELUCID strove to create an atmosphere of chaos, embracing experimental electronics and atonal sample bursts. He worked on much of the album with co-producer Jon Nellen, who comes from a background in avant-garde and Indian classical music. “I wanted to get as freaky as I could at this moment. I wanted people to hear things, maybe for the first time, or in a way they haven’t for a long while,” the rapper explains.

ELUCID arrived at the studio with a collection of noise sources: non-referential samples, glitches and noises. Together he, Nellen, and others created forms out of them and, as ELUCID recalls, “just started playing drums with it.” Their fried, distorted sound was directly inspired by Miles Davis at his most uncompromising—specifically, the tone-clustering funk track “Rated X” from his 1974 double LP Get Up With It. At times, the pairing of rap with avant-fusion sounds also brings Emergency! from The Tony Williams Lifetime to mind, perhaps in an alternate timeline where the late drummer was listening to Ice Cube’s AmeriKKKa’s Most Wanted.

“The World is Dog,” REVELATOR’s lead single, functions as the album’s aesthetic thesis statement. Like the Davis track, the textures are punishing, the tonality is in free-fall, and the driving breakbeat of a groove cuts in and out unceremoniously. Avant-jazz bassist Luke Stewart, who appears throughout the record, holds the whole thing together just long enough for ELUCID to tightwalk over the beat. This tension is exactly where REVELATOR sets itself apart; in a time of drumless loops, and safe soul samples, this is a high-wire act with no safety net. Similarly, the song announces the themes of the album within just a few phrases, evoking the way societies accept and adjust to new levels of debasement and brutality while suffocating under the weight of history: “Can’t clock the kill, all a mystery/Forced past will eating everyone eventually/The world is dog.”

Many of the songs on REVELATOR grapple obliquely with dissolution and disenfranchisement in America and across the world—the grim realities of our domestic sociopolitical climate and our involvement in foreign conflicts. “Much of my artistic and political sensibility comes from the Black arts movement here in New York,” ELUCID explains. “Recognizing the interconnected global struggles against oppression, artists and thinkers created works and actions in solidarity with freedom movements in South Africa and Palestine.” ELUCID cites intellectuals like Amiri Baraka, Kwame Nkrumah, Audre Lorde, Sonia Sanchez, and Nikki Giovanni among his heroes. (One track on the album is specifically inspired by Lorde’s work, “SKP,” citing the scholar’s paper “Uses of the Erotic: The Erotic As Power.”) Songs like REVELATOR’s insistent closer “ZIGZAGZIG,” find ELUCID applying up-to-the-minute messaging, making explicit reference to the conflict in Gaza: “Feed a war machine…from river to sea, in lieu of peace.”

Despite ELUCID’s preference for cacophonous system overload here, the rapper also provides moments of respite. Recorded at The Alchemist’s Los Angeles studio, the laid-back, wheezing “INSTANT TRANSFER” is a collaboration with billy woods, which crystallizes their shared sense of creative determination. “With much momentum behind us and even more on the horizon, I knew a purpose, and that every step was ordered to that purpose,” ELUCID said of the experience. Meanwhile, the jittery “HUSHPUPPIES” is a playful anomaly on the track list, providing a snapshot of ELUCID watching his grandparents in the kitchen while preparing for Friday night fish fry dinners.

“Love still rules over on this side,” ELUCID says. ”I’m raising a family. We are making meaning and finding joy in the midst of all the fucked up-ness of everything around us because the alternative is cowardice and slow death. We remain rooted. We celebrate our people and our wins. Struggle is necessary.”

“IKEBANA” is one of ELUCID’s strongest statements of purpose on the record, blending the record’s heaviest themes with its most hopeful sentiments. supported by a shoutalong refrain and an urgent prog-funk groove. Breaking away from images of dissolution and crumbling societal systems that populate REVELATOR, ELUCID notes that the only way to navigate life’s bleakest landscapes is to cling to love and believe in those around you—to look forward toward something better that may or may not be possible. For the rapper, one of the album’s most trenchant lines comes during a centerpiece of a beat drop: “Being alive/I must look up.”

“The lyric ‘being alive I must look up’ is important especially in the context of this album. Much of the album imagery is harsh and reflects the actual doom some of us experience. But still I/we exist,” ELUCID explains.

Every artist is, in one way or another, the product of their time, bound by life’s leaden gravity to operate within the space of that which is already known. But there are some who are able to shake free of these ties, to shape the culture as it unfolds, to make the present their own.
Revelation, as a concept, points to the scales falling from people’s eyes—something that has been hiding in plain sight becoming clear. “The revelator relates to things that have been talked about, things that have been forecasted,” ELUCID adds. “And now they’re really here, and everyone sees it. And there’s no escaping.” REVELATOR plays out with the unmitigated power of those storms, laying waste to any genre conventions in pursuit of a certain physicality. Here, ELUCID develops a wholly distinctive musical language to explore our fractured modernity.

REVELATOR's packaging was designed by longtime Armand Hammer / Backwoodz art director, Alexander Richter.

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Following appearances on our first three releases and on Chez Damier's latest label 'House Of Chez', El Kazed is back with his first solo EP !

Over the years, El Kazed's sound has become more refined, but you can still recognise his own touch.

On that matter, the A side is a prime example : DeePulse and Yunni perfectly blends that famous FM bass with dreamy pads and a strong 90s Italian house influence.

On the B-side, The Positive stands out with a more club-friendly vibe. Our friend Lea Lisa did her own version of it, driving it even more in that direction.

Sundries has already established the now well-known "Disco Goodies" series, with the fourth VA compilation in a row featuring obscure disco and boogie gems that cater to diverse tastes and occasions. This series is dedicated in memory of Juan Vargas aka Sould Out who sadly passed away 2 years ago. This 6-tracks EP kicks off with "Soul Driven Dynamics" by Berobreo, which opens dramatically, setting a curious tone as it builds tension, leaving us anticipating a resolution that arrives unexpectedly in the form of a loose, seductive soul sample cut. Oldchap brings a touch of sunshine with groovy, free-flowing track "Coloridos", that carry the happy spirit of latin disco, perfect for enriching any feel-good DJ set. "Still Come Home" by X Gets The Crest wraps up the A-side, combining a baritone sax and funky bassline into a well-balanced blend of styles. The B-side ventures into Afrobeat house with "People Says" by Alexny, featuring hand-drummed rhythms and chanted vocals layered over solid kicks. Sould Out delivered another boogie-funk gem with the excellent "City Gal", while Workerz closes the EP with "Since You Came" an uplifting track filled with soulful vibes and heartfelt expression.

From London to Ibiza via Berlin, inspired by Chigago and Detroit, Ceri finds her truth in proper house music. ‘Can’t Pay My Bills’ EP provides a message of hope during uncertain times. Acknowledged as a “rising selector” by Crack Magazine, producer, label boss and record digger Ceri steps into 2024 with a brand-new EP ‘Can’t Pay My Bills” via her imprint “Find Your Own Records”.

“The title track is inspired by the current economic situation in the world, and also features a positive message that reflects the values and true origins of house music, reinforcing the belief that we can overcome our circumstances and improve our situation” - Ceri


The new four track EP drips with Chicago, New York and Detroit jackin’ house with garage influence, and a sprinkle of ripping UK breakbeat for good measure. The people’s producer D'Julz steps up, on remix duties, contributing not one but two remixes to the label’s ongoing message of artist authenticity and collaboration. The remixes will be vinyl only, and the originals will see a digital release later in the year.

“I have collected D'Julz music for many years, his label started around the same time I started DJing, and it was and still is, one of the few labels that I buy on sight. I know it will always be quality. Something I aspire to do with my label too.”– Ceri

As an artist led label 'Find Your Own Records’ has become a home for genuine house legends Mr G, Fred P, Alex Arnout, and has rightly gained support from Mixmag, Resident Advisor, BBC Radio 1, BB6Music and BBC1Xtra.

Support for the label so far comes from the likes of:

Midland, Ben UFO, Move D, K-HAND, Fumiya Tanaka, Fred P, Paranoid London, Steve O'Sullivan, Tristan Da Cunha, Ryan Elliot, Lakuti, DJ Deep, Kerri Chandler, Chloe Caillet, Fred P, Jeremy Underground, Cici, D’Julz, Chez Damier and more…


As a DJ Ceri has performed marathon sets at Fabric, Corsica Studios, Pikes Ibiza, Thisishaven, and recently made her debut at the legendary Panorama Bar/Berghain. Confidently sharing the booth with club favourites Ryan Elliot, Jeremy Underground, Paranoid London and Objekt it’s certain the next year of live shows will be ones to remember for the UK artist. Inspiring far beyond the dancefloor, Ceri also regularly steps up as a masterclass host / panelist on creativity, mental health, meditation and wellness with renowned platforms Beatport, ADE, RedBull, Point Blank and Native Instruments, earning her a distinctive reputation as a multifaceted artist and
thought leader.

Ceri – ‘Can’t Pay My Bils’ EP is out on Find Your Own Records. Vinyl end of Feb tbc. The remixes re vinyl only. And the originals will be released digitally in the summer.

A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.

In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.

Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.

Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.

Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.

With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.

The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.

Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).

A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.

In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.

Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.

Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.

Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.

With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.

The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.

Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).

Limited Edition! The "LaBush - Temple of House" Volume 2 Vinyl Box Set for the 30th Anniversary of the Legendary Club!

Barely six months after the phenomenal success of the first box set, La Bush - Temple of House makes history once again, celebrating its 30th anniversary with the release of Volume 2 in a limited edition 10x12" vinyl box set. A true must-have for collectors and electronic music enthusiasts!

This exclusive box set features no less than 35 tracks, an incredible number for a vinyl collection, offering unparalleled pressing quality that guarantees an exceptional listening experience, perfectly suited for any turntable. Each track has been meticulously remastered, preserving the essence of the original versions while enhancing every sonic detail.

The deluxe packaging of this box set is a work of art in itself, designed to captivate the most discerning vinyl lovers. Moreover, with tracksfrom legendary artists like Paul Kalkbrenner, Paul van Dyk, David Guetta, Tomcraft, Oliver Lieb, Matthew Herbert, and La Bush resident Mr. Sam, this box set is an essential treasure.

For those who already own the first box set, this new volume is the perfect opportunity to complete your collection in the best possible way, adding a new centerpiece to your La Bush ensemble.

Don't miss this unique opportunity to add a masterpiece to your vinyl collection. Order now before it's too late!

Bringing stark dread bass vibes like no one before or since, Mars89 makes a welcome return to Sneaker Social Club with another four-track script flipper.

Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.

Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.

'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.

'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.

'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.

'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.

QUAZAR are pioneers of the first house- and techno-generation of the early 90’s. Formed in Amsterdam by producer Gert van Veen, QUAZAR debuted in 1990 with the 12 inch ‘The Seven Stars/Day-glo’, which became an underground hit all over the world, from the UK and Germany to The USA, Goa and Australia. It’s still considered as one of the ultimate classics of the original rave-scene.
‘The Seven Stars’, a wild and exciting musical voyage, full of instrumental crescendoes and rushes, is a hard hitting techno-track that set dance floors on fire with its fierce energy.
The raw persuasive power of the a side and the acid tinged 'Moon Turns The Tide' is balanced by the gentle, melodic ‘Day-glo’ - a predecessor of the later minimal style and a favourite of Ricardo Villalobos, that unexpectedly became just as popular as ‘The Seven Stars’.
During the Amsterdam Dance Event 2024 ‘The Seven Stars EP'will be rereleased on vinyl, two weeks later followed by the rerelease of the first QUAZAR album ‘Seven Stars’.
‘The Seven Stars EP' 12" presents remastered versions of the three tracks on the original record plus a 2024 QUAZAR remake of ‘The Seven Stars’, mixed by Dutch house legend Olav Basoski.
To celebrate these releases, QUAZAR, still one of the best live-acts in the Netherlands, will do a special hardware-only live-gig at DOKA/The Volkshotel in Amsterdam on Wednesday October 16 2024.

Remastered reissue of this seminal EP by Speedy J originally released on Detroit's Plus 8 records. Taking his inspiration from the early Detroit and Chicago imports that landed on the Dutch coast in the late 80's Speedy J ended up creating a classic that innovated and embodied the raw energy of the then still emerging sound of Techno. After all these years this is the very first repress of this landmark release!

If ever a producer could be hailed as the true heir to New York's storied house music throne, it's undoubtedly Mike Terra—and his new, seriously weighty Rhythm of Love EP on Nat Wendell's Depths imprint is a testament to that in strides.


The EP begins with the peak-time infectiousness of A1 "7th & C," setting the commanding tone for what's to come. The fittingly Big Apple-titled A2 "27th Street (Dub Mix)" follows, a rollicking shuffler whose fat kicks, stabbing synths, and snapping cymbals recall Johnick's steamier cuts. New York in the 90’s is indeed the frame of reference for this EP, and the B-side finds Terra doing what he does best: creating bumping, stomping, and uplifting must-have workouts for the floor. Whether you prefer the swarthy slapping, Todd Terry-esque groove of title track B1 "Rhythm of Love" or the conga-driven, deep-padded chunk of late-night house that is
B2 "City Got You Trippin'," a late-night jam crafted for those still standing, both tracks are bound to find their places in the record bags of DJs—and heads—worldwide.

This October Jamiroquai celebrates the 30th anniversary of ‘The Return Of The Space Cowboy’. Their second album, it will be reissued as a double-LP set on 140g “moon grey” vinyl and includes Michael Gray’s Good Vibe Zone edit of ‘Space Cowboy’ - which has never been released on a physical product. The packaging has also been re-designed for this anniversary release including foil enhancement of the original cover design.

‘The Return Of The Space Cowboy’ is the follow up album to the band’s huge 1993 debut, ‘Emergency On Planet Earth’. Selling over 3 million copies globally, ‘Emergency On Planet Earth’ put the band on the map with their distinctive sound standing them apart from other popular acts of the time.

‘The Return Of The Space Cowboy’ was released just one year later and was met with great critical and public acclaim. Certified Platinum in the UK, Japan and France, it achieved chart success in multiple countries and spawned the single ‘Space Cowboy’ which remains one of their biggest tracks to date. Critically the album was lauded with Rolling Stone saying "Jamiroquai parlay jazzy soul pop so tight it crackles… Nowadays, when most funk comes out of cans, Jamiroquai's live spark glows", The Guardian said “... this second album sounds like vintage Stevie Wonder and Johnny 'Guitar' Watson, but Kay's vocals are as snappy and engaging as his extrovert persona" and Q magazine said it “combines intricate arrangements with several long, free-form workouts crammed with virtuoso performances".

For many, this album is defined by some of the most complex songwriting the band have ever produced and Jay Kay called it “one of our most creative and accomplished albums”. The process of making the album came with many challenges. Having to recruit a new drummer (after Nick Van Gelder failed to return from holiday), the band were met with second-album syndrome with Kay proclaiming since that lyrics weren’t coming "... because suddenly I wasn't homeless, I had everything I needed. So I found myself creating problems to write about." The songwriting process was complex for the band as Jay Kay was often dissatisfied with the results, leading songs to be scrapped or rewritten, but half-way through recording Kay wrote ‘Space Cowboy’, a song which reflects darker times during the recording session, and it became the catalyst of creative inspiration helping them finish the record. On this 30th anniversary edition of the album Space Cowboy gets a modern dance makeover courtesy of DJ Michael Gray, shedding new light on the track and emphasising it’s already infectious groove.

The album built on the success of ‘Emergency On Planet Earth’ and Jamiroquai have become one of the UK’s most pioneering and ground breaking bands of the past 30 years. Pushing boundaries and bringing jazz and funk to a mainstream audience, their sound is not only unique, but immediately recognisable.

New on Outta Sight, an official reissue of the Gloria Jones classic “Tainted Love”. The song originates from 1964, then made a household favourite from 1981 when made a hit by Soft Cell. Gloria’s 1965 release in the USA was originally a B-side to a non-hit, and it took ten years for it to be discovered in the UK where it was played on the Northern Soul scene. It’s the Motown-like rhythms and arrangements that made it relevant. Gloria re-recorded it herself in 1976, and while still not a hit, the song in NME’s Top 500 greatest of all time and Gloria dubbted ‘The Queen Of Northern Soul’. She was in a relationship with Marc Bolan at the time of his fatal accident. This single is coupled with another northern soul favourite, the Holland/Dozier/Holland song “There’s A Ghost In My House” by Motown artist R. Dean Taylor. It was originally recorded in 1966 and reached No.3 in the UK Charts (1974)

IGLO debuts on the infamous UKW49b label with an EP which shows his holistic approach on music having an ear for the floor and hedonistic listener.

Get your ass up and let’s get ill! Yep, that’s right it’s Krash Slaughta and Phill – more accurately, it’s Phill and Krash because it’s that way round on what you get for your cash. Actually, face it, you’ll pay by card, though you won’t be bothered as these rhymes go hard. And you know it ain’t just them fat rhymes either, KS got the beats to give you a fever. That’s Side One, Definition Of Ill, but you know there’s another on the other side still. I Ain’t Playin’ With Y’All is what that’s called, more premium hip-hop to keep you enthralled. Phill says the music inspired the lyrics – apt because the finished tracks inspired this critic. Peace, I’m out! And if you don’t get your skates on, stores will be out too – of stock that is because while this one comes in two different cover & label versions, it’s strictly limited and there will be no re-press. Don’t sleep peeps!

Get your ass up and let’s get ill! Yep, that’s right it’s Krash Slaughta and Phill – more accurately, it’s Phill and Krash because it’s that way round on what you get for your cash. Actually, face it, you’ll pay by card, though you won’t be bothered as these rhymes go hard. And you know it ain’t just them fat rhymes either, KS got the beats to give you a fever. That’s Side One, Definition Of Ill, but you know there’s another on the other side still. I Ain’t Playin’ With Y’All is what that’s called, more premium hip-hop to keep you enthralled. Phill says the music inspired the lyrics – apt because the finished tracks inspired this critic. Peace, I’m out! And if you don’t get your skates on, stores will be out too – of stock that is because while this one comes in two different cover & label versions, it’s strictly limited and there will be no re-press. Don’t sleep peeps!

Officially remastered reissue of the vocal house classic ‘Come Get My Lovin’ by Dionne. Produced by Komix and presented here for the first time on the original Bigshot Records label since its initial release 35 years ago.

This full length 8-minute remix was the favourite version during the second Summer(s) Of Love and a certified classic, ‘Come Get My Lovin’ still sounds as fresh today as it did in 1989.

Whether you’re buying this for the first time or buying to replace a worn out copy, here’s your chance to own a slice of house history.

Mit ihrem neuen Album „Sad Girl“ schlägt TSHA ein neues Kapitel auf, in dem sie ihren Tracks ihren eigenen stimmlichen Stempel aufdrückt und sich den Genres nähert, die sie schon immer ausprobieren wollte, anstatt die Anerkennung ihrer Kolleg:innen zu suchen. TSHA zeigt nicht nur die euphorischen oder melancholischen Seiten ihres Charakters, sondern stellt sie alle zur Schau. Es ist ein Werk, das zeigt, dass es in Ordnung ist, traurig zu sein, und dass man darin sogar schwelgen kann - schließlich kann man die Höhen nicht ohne die Tiefen haben.

Es ist das zweite Album des aufstrebenden britischen Stars und folgt auf das Debütalbum, „Capricorn Sun“, aus dem Jahr 2022, das auf einem hellen, melodischen House-Fundament aufbaute und britische Garage- und Rave-Einflüsse einbrachte. Das Album wurde vom DJ Mag und BBC Radio1 Dance zu ihrem jeweiligen Album des Jahres gekürt, während das Music Tech Mag TSHA zur Produzentin des Jahres kürte, was für eine weibliche Produzentin, deren Produktionsfähigkeiten oft übersehen werden, sehr viel bedeutet.

Während sie Freude an Hedonismus und Eskapismus findet, ist „Sad Girl“ auch ein Album, das schwierige Gefühle anspricht. Das Zwischenspiel, „Lonely Girl“, erzählt von ihrer isolierten Kindheit in der überwiegend weißen Stadt Fareham in der Nähe von Portsmouth, in der sie sich Märchen im Stil von „Secret Garden“ ausdachte. „Green“ entstand nach einem Streit mit ihrem Partner, wo sie offen über toxische Positivität singt (auf dem Album singt sie zum ersten Mal). TSHA mag in den DJ-Videos, die sie in den sozialen Medien postet, Selbstvertrauen ausstrahlen und von einem Ohr zum anderen grinsen, aber sie hat auch offen über ihre Probleme mit ihrem psychischen Wohlbefinden gesprochen.

Mit dem Albumtitel lässt sie ihre Teenagerjahre Revue passieren. Er ist eine Anspielung auf emo-mäßige MSN-Screennamen und Hotmail-Adressen - und man kann es in den Anflügen von 00er-Jahre-R&B, rauem Elektro und hymnischem Techno hören, die an die Bittersüße und die Angst des frühen Erwachsenseins erinnern. Zwischen den Momenten der Stille und des Nachdenkens ist es im Kern eine Dance-Platte: heiße Club-Stomper reiben sich an hypnotischen Floorfillern und MTV-tauglichem Pop.

Layton Giordani continues his rich vein of outstanding form with ‘Freaks at Night’.

‘Freaks at Night’ continues his adventures in sound. Unmistakably a peak-time record, the track still manages to traverse a rich ethereal energy, highlighted by an otherworldly synth line and striking vocal that sets it apart from so many. Teased in sets by Giordani and Beyer going back to last summer, this one’s hugely anticipated.


Four years on from Layton Giordani’s critically acclaimed ‘New Generation’ album, Space 92 – one of techno’s most impressive new artists – steps up for a fitting remix. A masterclass of techno futurism, the 2020 album was a defining release of that year and was an impressive marker of Giordani’s ever-evolving talents in the studio. The title track was a memorable highlight, mixing ambient textures with head scrambling synth effects make it an enduring dancefloor classic. One of techno’s future stars Space 92 has added his touch to ‘New Generation’. With very special results. The Frenchman has super-charged the original, adding in plenty of laser-kissed energy as a barrage of powerful chords and silky pads take the cut into steamrolling territory.

For the third instalment of Liechtenstein‘s Silum Records, CCO presents another quality 12“ featuring his signature Detroit-infused sound. The tracks boast classic drum machine beats combined with jazzy chords and tasty leads leaving no feet standing still.

First Word Records is proud to bring you 'The Making of Silk', the brand new album from Allysha Joy.

Allysha Joy is a deeply-expressive singer, songwriter, producer & keys player hailing from Naarm (Melbourne), known for both her solo work and as front woman for 30/70. A uniquely-talented artist, her husky soulful voice, formidable Fender Rhodes prowess and raw poeticism has garnered legions of attentive fans the world over.

As an integral performer in the modern day jazz-soul scene, previous support has included selectors Gilles Peterson & Jamz Supernova (BBC 6 Music), Jamie Cullum (BBC Radio 2), China Moses (Jazz FM) & Laurent Garnier (PBB France), along with stations such as NTS, Lot Radio, KEXP & KCRW, and publications including OkayPlayer, Dazed and The Vinyl Factory.

Along with a recent foray into the USA market with a string of successful shows, Allysha Joy has performed alongside acts such as Snarky Puppy, PJ Morton, The Teskey Brothers, Kokoroko and Children of Zeus, to name a few.

Joy has previously released two full-length solo albums 'Acadie : Raw' in 2018, 'Torn : Tonic' in 2022 and an EP, 'Light It Again' in 2020, along with countless collaborations and features over the past few years.

Entirely self-produced and affectionately poured over, 'The Making of Silk' is about a new understanding of the meaning of love.

Joy says, "it's the kind of love that bell hooks writes about, that lives in the poetry of Mary Oliver, Hafiz and the passionate dreaming of a Koryusai painting. It's about a love that is compassionate, that lives in open conversation, deep listening, the front lines of social movement and would never seek to stifle the light in you. It's about accepting our aloneness, the impermanence of all things and still forever wanting to prove it wrong, to say that I understand that all things change, all things end, hurt exists, but I will love regardless."

Riding on the waves of rich string arrangements, layers of vocal harmony and the raw poeticism she is known for, Allysha Joy's next album is embodying love.

'The Making of Silk' is due to be released on vinyl & digital worldwide, September 13th 2024.

We have invited for the first time in our closed creative community the soul and creativity of an old colleague, friend and fellow traveler on the road of DAO of life.

This is K▲NZ

If read from back to forth it comes from ZNAK, which means SIGN when translated into Bulgarian.

Originating and still gravitating in the suburban area of Lyulin district, these areas are known to give birth either to crime, or to art. In the case of Kaloyan “K▲NZ” Gavrailov, the shady Lyulin area, thankfully sparks the latter.

K▲NZ has had a lot of attention in regards to nightlife participation and on behalf of labels, but definitely not yet the deserved one. We are proud to present the platform for his first ever 12″ vinyl release with slightly odd in taste selection, and thus, rich in soul and creativity. -M-E-L-M-A-K-’s LKVBHR-12 installment is to be released also later this summer and by this we would like to tell Kalo: “welcome to the mob, big! Small-town-dogma-free techno rulez!”

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world
at large.

With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto
almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes.

Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

The Soul Pirate album was the result of Italian reggae star Alborosie's six years at Geejam studios in Jamaica and in partnership with local artists. Featuring some of Alborosie's most popular tracks like "Kingston Town" and Herbalist", this is part of the evosound 20th Anniversary special re- release collection.
The album will be available on 180g vinyl Transparent Yellow LP.

2025 Repress

2026 Repress

Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). 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

DJ support: Tim Sweeney, Make A Dance, Parris, Pleasure Voyage, Camillo Miranda

Back yard - Back yard is the first single from the new Teen Daze album, Elegant rhythms, and features singer-songwriter Andy Shauf on drums, and LA jazz staple, Sam Wilkes, on bass. This is a stark change in sound for Teen Daze, who’s last album Interior was an exploration of neon-lit House music. Back yard is a mellow groover, conjuring up images of Laurel Canyon in the 70s, yet still with its flourishes of contemporary sounds.

We’re out of phase again - We’re out of phase again is another vulnerable glimpse into the inner world of Teen Daze, and marks the release of his most personal album to date, Elegant rhythms. In contrast to the synthesized, digital world of his prior album, Interior, here we’ve been brought into a lush, organic arrangement, brought to you in large part to the stunning bass playing by Sam Wilkes. While the verses pulse forward, the chorus slows things down, and evokes the sophisti-pop sounds of The Blue Nile. This track is a stunning showcase of the world of Elegant rhythms.

Nothing’s gonna change my love - Teen Daze returns with his second single of the year, Nothing’s gonna change my love. The stark change in sound, as heard on previous single Back yard, is on display here again: a smouldering, 2 and a half minutes of slow jazz-pop, indebted to the great Sade, or perhaps the feeling of leaving downtown LA at 2 AM. Lyrically, we hear a story of a love, challenged by the unpredictable nature of our lives. This may be Teen Daze’s smoothest song to date.

Neighbourhood - Neighbourhood is the third single from the recently announced LP from Teen Daze, Elegant Rhythms. Along with Andy Shauf on the drums, and Sam Wilkes on the bass, Teen Daze gives us a languid tour of his quiet neighbourhood. The sun has set on the pleasant, tree-lined streets, and a stranger, more surreal environment presents itself. The song plods forward at an extremely comfortable pace, held down by the paradoxically loose-yet-tight rhythm section. Lyrically, we walk around the Neighbourhood at night, and while the chorus reveals a type of sobriety, the vibe of the song makes it easy to feel a little…effected.

Fade away - Fade away sets the tone for Elegant Rhythm’s side B: a deeply personal, though somewhat veiled, confession of loss. How does it feel to grieve something that was never really here? A smouldering, slowly progressing first half erupts in synthetic noise, and then fades into the ether with it’s repeating refrain, “I can feel you / feel you fade away / when there’s nothing / nothing left to say”.

Fall ahead - A sweet piano tune which serves as a quiet break in the record, intended to help the listener reflect and take a moment of pause before we reach the final two songs on the album.

HST underwater - The penultimate track on the record tells a story where the narrator finds themself in an alien, yet oddly familiar place. Arpeggios soaked in crystal blue water flow through the stereo field, while the narrator, vocoded and drenched in autotune, searches for meaning and purpose in a confusing world. This is one of Teen Daze’s most cinematic, emotional songs yet.

In the rain - It’s never really made explicitly clear on this record, but a lot of these songs find Teen Daze wrestling with life as a new father, and this song, the final on the album, expresses the fears of generational trauma. A touching, tender ode to his children, we hear Teen Daze at his most personal and vulnerable. The falling rain surrounds some absolutely breathtaking bass playing from Sam Wilkes, and Teen Daze’s signature ambient keyboard sounds.

Radio Support: Ruf Dug (Soup To Nuts on NTS)