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Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

Confidence Man’s third studio album, "3AM (LA LA LA)" released via CHAOS/Polydor Records/I OH YOU Records, sees the delinquent party starters popify 90's UK rave sounds like no one before. Inspired by a recent move to London, meeting their idols KLF, and becoming immersed in the queer club scene, Confidence Man have taken the ideas of hedonism, ecstasy and losing yourself to the music and distilled them into pure a-grade euphoria. The record spans the electronic spectrum from breakbeat and trance, to left-field Underworld size techno and the “let’s 'ave it” punk energy of legacy artists like The Prodigy. “3AM (LA LA LA)” follows their hugely successful second album “TILT”, which featured breakout single and festival crowd favourite ‘Holiday’. Staunchly defying trends and bringing Janet, Sugar, Reggie and Clarence along for a helluva good time, "3AM (LA LA LA)" feels bigger, bolder and in some ways brutal, but like, in a hot way. "3AM (LA LA LA)" is a welcome escape from the dull wasteland of modern mediocrity, bringing the weird and wonderful world of Confidence Man to the masses.

Interpol feiert den 20. Jahrestag der Veröffentlichung ihres Kultalbums "Antics", das ursprünglich am 27. September 2004 veröffentlicht wurde. Das zweite Studio-Album der US-Amerikaner festigte Interpols Position als eine der einflussreichsten Bands ihrer Generation. Interpol erlangte mit ihrer einzigartigen Mischung aus Post-Punk, Shoegaze und Dark-Wave-Einflüssen schnell große Bekanntheit. Die düsteren und atmosphärischen Klanglandschaften in "Antics" vereint mit Frontmann Paul Banks unverkennbarer Stimme, brachten darunter Single-Klassiker "Slow Hands", "Evil" und "C"mere" hervor. Zur Feier des 20. Jubiläums von "Antics" veröffentlichen Interpol gemeinsam mit Matador Records eine erweiterte digitale Neuauflage. Diese enthält eine neue B-Seite "Direction" und eine bisher unveröffentlichte komplette Live-Aufnahme des legendären Auftritts der Band 2005 im Palacio de los Deportes in Mexiko-City. In diesem Herbst wird die Band auf Tournee durch die USA, Großbritannien, Irland und der EU gehen. In Deutschland wird man sie an den folgenden Terminen sehen können.

2024 Repress

Re-mastered from original stereo master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art (front photo is lost).

Double insert using an original photo by JP Leloir from 1959.

Each record has been visually checked to prevent defects.

Recorded December 19 and 20, 1958 at the studio Hoche, Paris.

Original LP issue: Barclay 84.063.

Belgian jazz artist Bobby Jaspar died far too young at age 37 in 1963, but fortunately made a handful of memorable dates as a leader. This is the last studio session under his name. Jaspar sticks exclusively to flute on these December 1958 studio recordings. He’s joined by drummer Kenny Clarke, Sadi Lallemand or Michel Hausser (who also doubles on xylophone) on vibes, and either Paul Rovere or Jymie Merritt on bass, as well as percussionist Humberto Canto (on one of the two sessions). Jaspar’s soft arrangements prove very appealing for his originals, standards such as ‘Lullaby of the Leaves’ and ‘There Will Never Be Another You’, and classic jazz tunes (an exotic ‘Misterioso’ and a Latin-flavored ‘Chasin’ the Bird’, the latter featuring Hausser on xylophone). This is easily one of Jaspar’s finest recordings as a leader.

Ken Dryden / All Music

Bobby Jaspar (Flute)
Michel Hausser (Vibes) (tracks 1 to 4, 6,8,9)
Sadi Lallemand (Vibes) (tracks 5,7,10)
Paul Rovère (Bass) (tracks 1 to 4, 6,8,9)
Jymie Merritt (Bass) (tracks 5,7,10)
Humberto Canto (Percussion)
Kenny Clarke (Drums)

Re-mastered from original mono master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art.

Double insert using an original photo by JP Leloir from 1955.

Each record has been visually checked to prevent defects.

Recorded December 27 and 29, 1955 at the Pathé Magellan studio, Paris.

Original LP issue: Barclay 84.023.

After hitting Paris in 1950, saxophonist Bobby Jaspar enthralled jazz fans and jazzmen alike with his smooth, elegant playing, with the lyricism of his tranquil phrases heavily influenced by Stan Getz in particular. So when Jaspar began regularly performing with a small ensemble at the Club St-Germain five years later, he adopted the same instrumentation as that of his idol’s illustrious quintet, with Sacha Distel on guitar and René Urtreger on piano in the roles of Jimmy Raney and Al Haig, respectively.

Contrary to what its title might suggest, ‘Modern Jazz au Club St-Germain’ was actually recorded in the studio. It features compositions by Milt Jackson, Dizzy Gillespie and Miles Davis along with a handful of standards, in which the angular aridity of bebop gives way to the generous and yet sensitive idiom of cool jazz.

Jaspar’s premature death in 1963 robbed the jazz world of a promising talent; this record is among his best efforts as a leader. Bobby Jaspar is in top form here !!!

Text – Pierre de Chocqueuse

Bobby Jaspar (Tenor Saxophone & Flute)
Sacha Distel (Guitar)
René Urtreger (Piano)
Benoit Quersin (Bass)
Jean-Louis Viale (Drums)

When the quartet of Luke Martin, Gabriel Salomon, Klaus Janek and Andy Graydon gathered to record an afternoon of sessions in Andy's studio, it was both the result of years of cultivation and an afterthought. Klaus and Andy had been long-time, and now long-distance, collaborators since their shared years in Berlin. That city was also where Andy was introduced to Gabriel at one of his solo performances by their mutual friend, the painter Paul McDevitt. Years passed, and cities. After meeting and working together in Boston, Luke and Andy both found themselves transplanted to Minneapolis. And by happenstance Gabriel arrived a few years later. A new conversation was just starting to emerge when Klaus announced his arrival, stopping by on a North American tour. Suddenly the four got a chance to listen and play together performing on a bill at a local gallery, in one configuration or another, for the first time. Packing up after that show, Klaus leaned over to ask, "isn't there a moment we could meet again, to play?"

Nothing was expected, and so anything was possible. The circumstances lent their gathering an impromptu but grounded feeling, a unique mix of chance encounter and reunion. As befits an opening encounter, the focus was as often on listening to the unfolding sonic conversation as it was on making a recording. Everyone seemed to intuit the direction despite not knowing where they were headed. The four faced each other in a loose circle surrounded by speakers and microphones pointed haphazardly, as likely to catch the dog padding around curiously as the bowing of strings or rattling of a cymbal. The permissive spirit of the day was declared early, just before rolling, when Gabriel asked if we should close the studio windows or leave them open. "You know what my answer is," replied Luke. If it's in the nature of a recording to become fixed, to be bottled up, let us at least leave open the windows to hear what might be coming next.

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

Martin Glover, besser bekannt als Youth, Bassist von Killing Joke und weltbekannter Produzent, und Chris Bowsher von Radical Dance Faction (RDF) arbeiten seit Anfang der 90er Jahre zusammen. Sie haben sich kürzlich wieder zusammengetan und präsentieren Youths Musik und Produktion neben Chris‘ Poesie. Diese 5-Track-12" enthält 2 unveröffentlichte Dub-Mixe von Tracks aus ihrem aktuellen Album "Welcome To The Edge" sowie zwei bisher unveröffentlichte Tracks auf Vinyl. Limitiert auf 500 Stück und auf Transparent Red-Vinyl gepresst.

Two of the most sensitive and sweet big room bangers to ever fill a floor, here’s Stay Here and Writer, the results of a recent machine jam between heavyweights of emotional dance music, Fort Romeau and Gold Panda.

Stay Here strikes first with slowly simmering synthesizers intertwining with slinky guitars and delicate vocal samples, while b-side Writer shows up to the party loaded with restrained euphoria, steady beats paving the path for the fragile acoustic elements of its glorious, beatless ending.

All of this spiked with just the right amount of acid to keep things constantly entrancing!

The record comes wrapped up in designer Eliot Axelsson's blurry shapes and vivid colours, arriving on vinyl and in digital form through Studio Barnhus on November 8.

Zweites Album des Berliner FRONTALANGRIFFes mit den illustren Gästen Walli, Sucker und Henne & Justin als Knüller obendrauf! FRONTALANGRIFF spielen Berliner Hardcore-Punk. Dreckig und schnell, so wie die Stadt ist, aus der sie kommen. Was bei einem Filmprojekt als fiktive Punkband begann, wurde Mitte 2020 real. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) holten sich Sascha (Darwins Rache) ans Mikro und es konnte losgehen. Im legendären Görli-Proberaum (Vorkriegsjugend, Jingo de Lunch) entstand in nur wenigen Wochen das erste Album. Bei Sascha in den Trailerpark Studios aufgenommen, von Matze Wendt gemastert und bei Break the Silence / Attack Records Ende 2021 erschienen. Es folgten Konzerte mit EXPLOITED, SUBHUMANS, TOXOPLASMA, RAZZIA, RAWSIDE, M.D.C., DISTURBANCE, LOIKAEMIE, OPERATION FOXLEY u.v.a.m. Das neue Album "Blutige Hände" kommt nun über Smith & Miller Records und setzt da an, wo Ihr Debütalbum endete: 17 Stücke in 34 energiegeladenen Minuten. Dringlichster Hardcore-Punk - ohne Umweg frontal nach vorn! Oxymoron's Sucker, Toxoplasma's Walli sowie Henne und Sohn Justin von Rawside lassen es sich als Gastschreier nicht nehmen, der Bande ihren Segen zu geben und Respekt zu erweisen. Starkes Stück! 500 Stück weltweit auf klassisch schwarzem 180gr schwerem Vinyl, plus A2-Poster und Insert, durchnummeriert.

Zweites Album des Berliner FRONTALANGRIFFes mit den illustren Gästen Walli, Sucker und Henne & Justin als Knüller obendrauf! FRONTALANGRIFF spielen Berliner Hardcore-Punk. Dreckig und schnell, so wie die Stadt ist, aus der sie kommen. Was bei einem Filmprojekt als fiktive Punkband begann, wurde Mitte 2020 real. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) holten sich Sascha (Darwins Rache) ans Mikro und es konnte losgehen. Im legendären Görli-Proberaum (Vorkriegsjugend, Jingo de Lunch) entstand in nur wenigen Wochen das erste Album. Bei Sascha in den Trailerpark Studios aufgenommen, von Matze Wendt gemastert und bei Break the Silence / Attack Records Ende 2021 erschienen. Es folgten Konzerte mit EXPLOITED, SUBHUMANS, TOXOPLASMA, RAZZIA, RAWSIDE, M.D.C., DISTURBANCE, LOIKAEMIE, OPERATION FOXLEY u.v.a.m. Das neue Album "Blutige Hände" kommt nun über Smith & Miller Records und setzt da an, wo Ihr Debütalbum endete: 17 Stücke in 34 energiegeladenen Minuten. Dringlichster Hardcore-Punk - ohne Umweg frontal nach vorn! Oxymoron's Sucker, Toxoplasma's Walli sowie Henne und Sohn Justin von Rawside lassen es sich als Gastschreier nicht nehmen, der Bande ihren Segen zu geben und Respekt zu erweisen. Starkes Stück! 400 Stück weltweit auf blutrotem 180gr schwerem Vinyl, plus A2-Poster und Insert, durchnummeriert.

There is NO LIGHT at the end of this tunnel! BROWN ACID: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the BROWN ACID series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that THEY (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! BROWN ACID: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!

Recorded at the Studio Acousti, Paris, September 23, 1965.

Original LP issue: International Polydor Production – 46.871.

This self-titled album is a testimony of the short lived-band led by New-York drummer Ron Jefferson during his stay in Paris in the mid-60s. After a first album under his name on Pacific Jazz in 1962, the founding member of The Jazz Modes and the Les McCann trio made the trip overseas.

Here, he made his living by playing with the popular pianists Errol Parker or Hazel Scott but his main drive was this trio that he formed with two other US expats, bassist Roland Haynes (the same musician who recorded an album on Black Jazz as a pianist, as confirmed by Kirk Lightsey) and guitarist Buz Saviano. After a highly successful show at ‘Palais de Chaillot’ in 1965, they were invited for a series of concerts in Dakar Sénégal. On their return, Polydor International proposed them this session. You can hear the deep impact their stay in the Motherland had on their music on the stand-out track ‘Africa the Beautiful’. On pair with the best of Yusef Lateef’s afro-eastern explorations from the time, it showcases Ron on flute and Senegalese percussion. The album release nonetheless was a commercial failure that prompted the band’s separation and Ron’s return to New-York where he performed until his passing in 2007.

Only a few copies of this record ever made it to the shops at the time and very few have had the chance to listen to it before this legit reissue remastered from the original MONO master tapes.

– Antoine Rajon –

Ron Jefferson (Drums & Flute)
Buz Saviano (Guitar)
Roland Haynes (Bass)
Jackie Robinson (Vocal on The Speaker)

Eine weitverbreitete Utopie ist die Ewigkeit. Eine andere ist das Glück. Man spielt mit dem Leben - wie gehabt und wie immer ohne Gewähr!

Manche tragen ihre Hoffnungen an die Börse, andere zur Glücksspielannahmestelle. Die Berliner Band Milliarden befindet sich auf ihrer neuen Studioeinspielung 'Lotto' in der Transitzone zwischen Kommen und Gehen. Dort, wo der Puls rauscht und Dasein Ankunft und Abschied bedeutet. Milliarden sind Ben Hartmann und Johannes Aue aus Berlin.

- Ltd. Col. LP: (Clear Vinyl+ Poster)

Eine weitverbreitete Utopie ist die Ewigkeit. Eine andere ist das Glück. Man spielt mit dem Leben - wie gehabt und wie immer ohne Gewähr!

Manche tragen ihre Hoffnungen an die Börse, andere zur Glücksspielannahmestelle. Die Berliner Band Milliarden befindet sich auf ihrer neuen Studioeinspielung 'Lotto' in der Transitzone zwischen Kommen und Gehen. Dort, wo der Puls rauscht und Dasein Ankunft und Abschied bedeutet. Milliarden sind Ben Hartmann und Johannes Aue aus Berlin.

- Ltd. Col. LP: (Clear Vinyl+ Poster)

Giuseppe Crisci is a musician and composer who splits his life in between London and Naples.
Known for his previous Acid House projects under the pseudonyms of DoTheDu and Crishi, he released several records on labels like Senseverse Records, Stealth Mission, and Pareidolia Recordings.

Conceived and written in his apartment in London and mostly recorded in his studio in Santa Maria Capua Vetere, this album proposes the sound of an evolving artist who drags himself into the deepest corners of heart and soul using profound synthesisers sounds which are coloured by intimate saxophone solos and rusty piano chords that enfasise strengthen the true sentiment of his lyrics narrated in English and Neapolitan dialect.

“My aim is to reach people’s soul and humbly influence them positively by trying to express what I feel deep inside myself, beyond meanings and words”— Giuseppe Crisci

Max Essa is a bonafide Balearic boss man and one of the regulars of the Is It Balearic? label. It is there that he returns now with 'I'm Homeward Bound' which is a textbook sound from the producer, with a hint of Tears For Fears. The pads are delightfully gooey and subtly uplifting over gently percussive and stuttering beats and the whole thing is rich in lazy poolside energy. Nathan Dawidowicz remixes into a percolating bit of deep and tribal disco, Secret Soul Society brings out the early evening house grooves ready for sunset sessions and the closing cut 'Chasing Horses' is a super sweet late night groove with heartfelt chords

12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.

The Twilight Sad feiern das 15-jährige Jubiläum ihres zweiten Studioalbums 'Forget The Night Ahead' mit einer sehnsüchtig erwarteten Vinyl-Wiederveröffentlichung, die eine neue Variante des Originalartworks enthält.

'Forget The Night Ahead' ist ein noch düstereres Werk als sein gefeierter Vorgänger 'Fourteen Autumns and Fifteen Winters', wobei James Grahams unheimliches Talent für beunruhigende Lyrics, die er mit seiner ureigenen kaledonischen Stimme vorträgt, weiterhin gut zur Geltung kommt.

Produziert von Gitarrist Andy MacFarlane und aufgenommen und abgemischt von Paul Savage in den Chem19 Studios in Schottland, enthält das Album die Singles 'I Became a Prostitute', 'Seven Years of Letters' und 'The Room'.

- Ltd. 2LP: (Schwarzes Vinyl)