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There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox
achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Look no closer than Prosthetic Boombox’s euphoric opener, the Avalanches-assisted ‘Don’t Forget Your Neighbourhood.’ The track – which Urango says mixes “the Beach Boys, French disco, house keys and ragtime piano, kinda like the Cheers soundtrack!” – ends with lyrics urging listeners to “fight for your town with your fist closed, strike it and make it more than just a memory.” It’s a reminder that the working classes need to “turn our fists against our oppressors instead of each other,” he explains. After that emphatic introduction comes a horn-laced funk wig-out titled ‘Mailbox’ – a song that gives Dua Lipa’s Future Nostalgia a run for its Studio 54-themed money, featuring rising Londoner JGrrey. Elsewhere, ‘Song for the Mister’ ventures into smooth R&B territory, before ‘Roses’ – a collaboration with Myd of Ed Banger fame – offers a bouquet of bustling disco guitars and infinite bisous of Connan Mockasin’s band drops in on the immaculate ‘Go the Mile’. Urango saves his most introspective moment for the album’s starry closer. ‘Kid Born in Space’, a cosmic collaboration with MGMT frontman Andrew VanWyngarden, sees the artist reflect on what he once had to overcome as a disabled person of colour. “I see them looking down on my dreams of being,” he sings tenderly. “I hear them making fun of my voice, but I keep on moving forward, I refuse to live in anyone else’s shadow.” Prosthetic Boombox, on this subject, is more than an album title – it’s a statement of intent.

“The message of my music is that our class is exploited, oppressed and murdered on the daily. That’s not right, and the system that enables that deserves to be wiped off the face of the earth,” he says. “The only way that happens is if we’re united. That’s the point of my music – to relate to people and unite them.” And what unites more than raucous, irresistibly danceable pop? Prosthetic Boombox is a riot of joyous grooves and catchy hooks for good reason. “I want to reach and spread my message to as many people as possible. You can’t do that if you’re some obscure motherfucker, you know?” he laughs. Don’t bet on him being an “obscure motherfucker” for long.

Shall Not Fade champions its hometown of Bristol for this next release on the Time Is Now White Label series; Daffy has built a name for himself on the local scene putting out forward-thinking garage on labels to watch like Dim Sum Records and Equal People. This will be his first full vinyl EP and it's not one to miss.

Run Around EP builds up the tension throughout; starting off with "Put Your Feet Up", a ghostly atmospheric piece with a sparse beat, sprinkling of ear candy and crescendo of headsy melodies. The title track oozes a growling bassline beneath staccato vocal snatches - it's a deconstructed style of garage that maintains tension while adding a dreamlike quality. More tension encompasses "Nerves" alongside teases of low end wobbles and harsh breaks that coalesce into a punishing jungle track.

"Lost Again" brings in the B-side with this same energy, an explosion of rolling breaks forming the backbone of this rouch and ready Metalheadz style crowd pleaser, calling out to the rave. "Mishap" serves up ragga vocals, impenetrable sub bass and pouncing two-step ripe for a reload, all rounded off with "Wasp's Nest" - a raucous, no holds barred climax to the EP.

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

Albarika Store is home to many rare recordings, from more traditional folkloric and Sato styles, to the funk, blues and psych inspired workouts of the All Mighty Orchestre Poly Rythmo de Cotonou, as they referred to themselves. Many of the original records are sought after by DJs and collectors as prime examples of Afro-funk, Afro-Latin and Afropsych sounds.
The next in the series of reissues by Acid Jazz presents a straight reproduction of the incredibly hard to find Poly-Rythmo ‘Vol. 4’ album, originally from 1978.
For DJs and dancers this album has long been about the killer track ‘Aiha Ni Kpe We’, an incendiary Afrobeat recording which will activate any dancefloor anywhere. “Every time I listen to the Orchestre Poly Rythmo… Wow, I just discover something new in the music” - Gilles Peterson
This is the first exhaustive trawl of the archive and will see the label presented in a way that ensures its historical importance is recognized. Trips to West Africa have secured original master tapes and the process of transferring is ongoing. Over the next few years a comprehensive reissue campaign is planned.

Crazy hardfloor tribe, oldschool hardtek streetwize style...
With a real cool political message... oups... massage.

Repress on black vinyl, comes in Flatlfife label sleeve.

The 4th acid compilation is definitely a collectible! With an explicit track from Eat Static which is produced back in the 90s and has that oldschool goa touch and rave breakbeats - we love it!!! 303 Airline has his tribute on Flatlife with an excellent pounding acid techno banger which can be played loud in clubs. Together on the A-side with DJ Wank; a great acid techno producer from Sweden; pounding driving acid techno. Then last but not least; label owners Jack Wax (Flatlife Records) & Sam C. (Dosis Decibel / Cat in the Bag) team up; with this excellent dark acidcore track "Missing" - which is the 1st track they ever created together!! 4 styles of acid again on 1 vinyl! Enjoy this one!!!

Housed in a label sleeve and comes on solid blue and yellow mixed vinyl.

Die weltbekannte Band aus Island ist mit ihrem elften Studioalbum, dem hoch emotionalen "Mobile Home", zurückgekehrt und veröffentlicht damit ihr erstes Album seit 2018. Das Kollektiv beweist einmal mehr die Meisterhaftigkeit, seine künstlerischen Grenzen zu erweitern, indem sie eines ihrer ambitioniertesten und kraftvollsten Alben seit Jahrzehnten veröffentlichen. Für ihr neuestes Album holten sich GusGus die VÖK-Sängerin Margrét Rán zur Hilfe, um ihren Stil zu erweitern und den Sound des Kollektivs so frisch wie immer zu halten. Das 9-Track-Album bietet eine Mischung aus elektronischem Rock, Ambient, Darkwave, Downtempo und Synthpop. GusGus besser denn je!

World-renowned group GusGus have returned with their 11th studio album, the highly emotive Mobile Home, marking their first album release since 2018. The collective once again prove their commitment to pushing their artistic boundaries as they release one of their most ambitious and powerful albums in decades. For their latest record, GusGus call on VÖK’s lead singer Margrét Rán to help expand their style, keeping the collective’s sound as fresh as ever. The 9-track album features a concoction of electronic rock, ambient, darkwave, downtempo, and synthpop.

After announcing a new album in October 2020, GusGus wowed fans with their first single “Higher,” offering a first taste of how VÖK’s impactful vocals mesh seamlessly with GusGus’ intelligent and powerful electronic production. “Higher” was soon followed up with the darker, downtempo “Stay The Ride” and the bright and energetic synth work on “Our World.” The three captivating singles each received equally remarkable music videos courtesy of founding members Arni & Kinski, the directing team known for working with the likes of Sigur Rós, Kiasmos, Ólafur Arnalds, Of Monsters and Men, and more.

Every track on Mobile Home doubles as a window into a futuristic dystopian world that has been overtaken by machines. A nod to the rise of technology and ever-growing uncertainty surrounding automation, the album explores themes of solitude, rebellion, science fiction, hedonism, pleasure, and anger. Swirling within this world is a disconnected, aching soul who is on the verge of slipping into complete dementia. Forgotten purpose and goals but continues to be driven by the hedonistic default program of material consciousness; sensually self-indulgent and engaged in the pursuit of pleasure alone. In Mobile Home, GusGus challenge themselves like never before, resulting in a wonderfully chaotic reflection of the ongoing war between soul and machine.

With Mobile Home, GusGus show the quality and sonic diversity of the singles pervades throughout the full LP, while preserving the melodramatic themes that tie its 9 tracks together. “Simple Tuesday” showcases the group’s aptitude for blending contemporary electronic production with pop sensibilities while keeping an optimistic tonality at the forefront. Meanwhile, “Love Is Alone” and “Original Heartbreak” offer a slower, more pensive take on synthpop, and evoke feelings of solitude and deep melancholia. “Silence” and “The Rink” boast some of GusGus’s more experimental production, each alternating between radio-ready vocal verses with inventive and exciting synth elements. GusGus closes Mobile Home with “Flush,” an instrumental score that leaves the listener riding high as they finish the LP.

The furious double LP "AL AZRAQAYN" documents KARKHANA (with members of KONSTRUKT, THE DWARFS OF EAST AGOUZA, LAND OF KUSH, PETER BRÖTZMANN CHICAGO TENTET, "A" TRIO) at their very best and intense: live on stage.

Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), KARKHANA are surely among the most unique and interesting ensembles around. When MAURICE LOUCA (THE DWARFS OF EAST AGOUZA), SAM SHALABI (LAND OF KUSH, THE DWARFS OF EAST AGOUZA), UMUT ÇAĞLAR (KONSTRUKT), MAZEN KERBAJ ("A" TRIO, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA), MICHAEL ZERANG (PETER BRÖTZMANN CHICAGO TENTET), SHARIF SEHNAOUI ("A" TRIO, ORCHESTRA OMAR) and TONY ELIEH (ORCHESTRA OMAR, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA ) come together to perform and / or record, the result is as diverse as their individual musical backgrounds. The septet's sound is neither retro nor avantgarde, not folklore nor jazz or rock – it's an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA's music (as well as the member's other projects mentioned before), someone labelled it "free Middle Eastern music".

And it's not surprising that these skilled musicians are at their best live on stage – as documented on this live recording from a furious, highly energetic concert at Bimhuis / Amsterdam!

• Step By Step are a 12 piece Milwaukee soul band and this is a rare album from the group
• Classic Brunswick album with a mix of breakbeats and harmonies that are in-demand
• Highlights from the album include the club classic title track plus ‘Cash Money’ and ‘I’m Glad’
• Originally released in 1977, this reissue has been pressed on 140g black vinyl with original artwork
and printed inner sleeve

light blue vinyl + CD

Detest returns to PRSPCT with a 10-track album showcasing the wide range of influences that have informed his productions and DJ sets for more than 10 years.

Since signing to the legendary Strike Records in 2005, Detest has been turning in hardcore banger after banger for labels like Deathchant, Rebelscum, Peace off - and PRSPCT, of course!

Paying homage to the past and his roots in tracks like "Oldschool Thrash" and "Sleep Knowledge", Glamorous Cool Kids Stuff is a listening album and party record combined, full of dynamic shifts in moods, tempos and styles.

From teasing industrial beginnings via plenty of signature Detest dancefloor slayers, and even a cinematic synth reprieve in "Movie XXL", this is best experienced from start to finish.

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others.
Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV.

This Tezeta album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

Virtually unknown recording outside Ethiopia.
Documents Mergia & Walias legendary early period.
Follow-up to reissue of hugely popular seminal Ethiopian instrumentals LP Tche Belew (ATFA012)

Cassette-only, released in 1975 on the band’s in-house label to fund their record store.
Beautifully-rendered instrumentals of classic Ethiopian standards.

'Funny Cow charts the rise to stardom of a female comedienne through the 1970's and 1980's. It is set against the backdrop of
working men's clubs and the stand-up comedy circuit of the North of England. From her troubled childhood to her turbulent adult
relationships, the Funny Cow uses the raw material of her life experiences to bring her unique style of comedy to the stage. A
stand-up comedienne in an all-male world, Funny Cow delivers tragedy and comedy in equal measure. The film stars Maxine Peake,
Paddy Considine, Tony Pitts, Alun Armstrong and Stephen Graham, is directed by Adrian Shergold and produced by Kevin Proctor
and Mark Vennis. Richard Hawley, Corinne Bailey Rae and Ollie Trevers all appear in the film. Richard wrote the title track 'Funny
Cow', 'A Little Bit More' and, with Mark Sheridan, the duet with Corinne Bailey Rae 'I Still Want You'. He also wrote the
instrumentals 'Laundrette Accordian', 'Leaving Mike's House'. 'Walking Round The Bookshop', and 'End Hospital Sequence' and 'End
Sequence', which all feature in the film. Ollie wrote the songs 'Twist It Shake It', 'From Then Til Now', 'Bad But Good' and
'Nightmare In Paradise' and again, all feature in the film.

Dissolution Sessions' is the first release by art punk rockers The Imbeciles since their well received eponymously named debut album earlier this year. The six-track EP
features a new band line up - and a different sound. 'We've slimmed down from a meandering, vegan, six member prog rock combo, to a tight-knit, guitar-led, steakeating 4-piece,' says lead Imbecile, Butch Dante. 'The guitar sound is fuzzy punk beast-master AF, and we like it.'
The band had originally gone into the studio earlier this year to record a radio session for 6Music. That ended up being cancelled because of the pandemic crisis. 'We
were there anyway so we started riffing on some new songs and everything came together real fast,' continues Butch. The result is three new songs and three new
versions of tracks that first appeared on the album. 'The music is still weird; but everything just gets to the point faster,' he adds. "You can hear that energy in 'Yes I
Am'; it's the sound of a band having fun being creative again after a difficult year.'
That particular new track is a Foo fighters/STP/Stooges-style banger, but played on Imbeciles terms - one note leads and guitar scrapes, with off beat stabs and a pop
punk drum track that pulls the whole together. And the overall vibe of the EP is a NSFW hybrid of 1979 London punk (Skids and Ruts), with second guitar stolen from
eighties Echo and Bunnymen and a leavening of Bauhaus art rock.
'Sunday Leaguer' was inspired by Butch's love of English football. The song is both a banging punk celebration of the beautiful game, and a lament to the gaping hole left
in peoples' lives when Coronavirus forced the cancellation of all football in March. As well as the Premier League, MotD and other football staples, the song also
celebrates the unsung legends of amateur Sunday League football. Dante, a Crystal Palace fan, enlists Palace's Holmesdale Fanatics on the track, who are heard chanting
'Eagles', while the video for the song pays tribute to the club's mascot, Keya, who sadly passed away this summer.
Charlie Conkers makes his debut on the EP as the band's drummer. 'He's young, good looking, and talented. It's quite annoying, actually,' Butch says. New lead guitarist
Stan Moseley makes a sideways move into the band from his previous role as The Imbecile's chief engineer and co-producer - the producer role now being occupied by
music legend, Youth, with whom the band has just started working on a new album, to be released in 2021.
'Having Youth involved as producer and co-writer is the most dope thing that has ever happened to the band,' says lead singer and bass player Kip Larson. 'Everyone is in
a super positive, hyper creative place right now and we can't wait to see what we come up with.'
So what about the name, Dissolution Sessions? Was it a nod to the pandemic, or a reference to the band breaking up and reforming again with its new members?
Neither, according to Butch. 'Kip was super hung over at the session. too many Dos Equis, yo. Hence: Dissolution Sessions.'

'Bedsitland' features three of the classic 1978 line up of The Members that recorded anthems and international hits for Stiff, Virgin
and Arista in the 70s and 80s.
The 'Bedsitland' album features ten fantastic new songs. What sets The Members aside from their contemporaries is the breadth of
the styles of music - sparkling guitars, throbbing bass, plus a lush mix with violins, whistles, uilleann pipes and accordions: New
Wave, Surf, Glam, Reggae and Punk mutate into a soup that is both unique and English. Echoes of The Kinks and early Floyd collide
with Krautrock beats and screaming leads. JC's unerring ability to write songs that tell stories and communicate directly with the
listener underpins the whole album. From the social isolation of the title track to the hypnotic, filmic 'The Day The World Stood Still'
through the travelogue of the 'Streets of Nairobi', The Members take you on a journey

Having impressed with his 2019 debut album on Negentropy, the breaks/tech-house/minimal techno fusion of Rhythm Tension, Zweizig has been given a chance to showcase his wares on Constant Sound's popular Constant Black offshoot. The headline attraction is undoubtedly opener 'Manipulate Our Reflections', a spaced-out chunk of hypnotic late-night science that wraps wonky, Villalobos style electronic noises and pulsing pads around a locked in (but also surprisingly swinging) tech-house groove. Relic provides a chunkier and groovier remix that boasts darker noises and a more beefed-up sound, while bonus cut 'Vvoid' is a twisted, undulating acid-jacker.

Emotional Rescue and HMV Record Shop (Japan) present Red Cloud and their roots disco rarity I Want To Be Free, with it's even scarcer dub version Freedom, together on 7" for the first time as part of the DISCO REGGAE LOVERS series.

This Brixton based band appeared on Emotional Rescue last summer with their Double Talk / Dubble Dub 12" (ERC102) rightly shining a light on their underrated output. Releasing on Tuff Gong, Red Stripe and Dancefloor the band released two albums and numerous singles of warm, rock-soul touched British roots sound system shakers.

I Want To Free / Freedom only appeared on the B-side of their super rare debut 12". While the A side's Double Talk was 'inna Lovers Disco style', here they keep the groove but explore the righteous stance of Pan African-Caribbean culture of the time, with a call for equality and fairness.

Centred around the writing of Keith Drummond and drummer / producer Specs Bifirimbi, plus support from founder Floyd Lloyd Seivright, it is in the dub version, Freedom, that the interplay of keys and drum and bass shine, a rock-reggae-disco bomb.

Emotional Rescue and HMV Record Shop (Japan) end their DISCO REGGAE LOVERS 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label.

His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door.

Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street.

Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald.

With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

Whie Vinyl

TIP!!!

Berlin’s Pure Hate drops its first release for 2021 from Toronto’s MDD. The Consume + Impose EP consists of 3 original tracks with remixes from Swarm Intelligence & Mickey Nox.

MDD is a live performance and studio project created by Measure Divide and Dolgener.

Having released on HANDS, South London Analogue Material, Inner Surface Music and Drøne, MDD’s tough industrial infused rhythms oscillate frequencies ranging from the realm of techno to punk. On the performance front, each set is an improvisation of heavy drum grooves, edgy basslines and distorted elements.

No Pure Hate release would be complete without remixes and this time they welcome Swarm Intelligence & Mickey Nox to the label. A regular artist on 47, Swarm intelligence takes on lead track Apex Switch with his distorted broken beat style while S.L.A.M. & Perc Trax artist Mickey Nox hammers Hate Pusher squarely to the floor.

Rolling through with a fresh release for Concrete Castle Dubs comes Dutch producer Kid Sundance. An esteemed beat maker and producer who’s been known for his Hip Hop & Breaks over many years behind the mixing desk, always applying that original analogue style of production to his material. After leaving the Drum & Bass scene in 1999 he always kept a weak spot for the tracks that changed his life, he never sold his collection and last year he took them from the top shelf to the ground, rediscovered the love, linked with Disorda @ Concrete Castle Dubs and decided to get back on and release a record for the label...

Following the release of DBA's tenth anniversary digital compilations in 2020, the label presents a vinyl edition sporting the four most in demand tracks. Kerrie opens proceedings with a barnstormer in her trademark dark machine funk style. Bristol's Lurka follows with 'Clean' which has been receiving plays from Ben UFO and other leading DJs. On the flip Mr. G slips down a gear for a deep house workout which is guaranteed to get floors moving, and The Room Below completes the package with futurist batucada bomb 'Bassika'.

After a very short break Daje Funk are back with a super fresh redesign. The label is also fully embracing the move from their previous 10” format to 12” with the obvious bonus that they are now able to cram just that little bit of extra music onto their releases.

Their latest release, the Slam Dunk EP, is their 9th since the label arrived and it’s been a memorable journey so far. Keeping things decidedly funk with a modern dancefloor twist for their latest instalment they have assembled and all-star cast of producers with Dutch edits wizard, Ronny Hammond, England’s Shit Hot Soundsystem and Uptown Funk and Italian producer Coldbeard all taking turns to vie for dancefloor gold.

Together they have turned in one mighty slab of black wax.

The EP opens with Ronny Hammond’s ‘Keep On Groovin’ and it’s a very serious club track. For those of you with long memories and deep collections the original used here was sampled for Screen II’s Hey Mr DJ, a 90’s house classic on Cleveland City and it feels just as essential right now in 2021 as it did in both the 70’s when the original arrived and in the 90’s. Keep On Groovin’ is a proper funk bomb and Ronny has taken it to town with the addition of a powerhouse bassline, ass shakin’ drums and cheeky ear worm vocal samples. Indeed there is no chance that you will be able to sit still when this one drops. Expect it to cause serious dancefloor mischief over the coming summer months.

Shit Hot Soundsystem is up next with ‘Woah’ with label co-boss De Gama adding some extra scalpel action. Another track with classic subject matter, this often sampled track has rarely sounded as good as on this monstrous funky outing. It still sounds as fresh and exciting as the first time you heard those vibrant and vital synths and beautifully layered vocals. ‘Woah’ is both immediate and essential and will be soundtracking parties for years to come.

Over on the flip Uptown Funk’s ‘South Side Boogie’ also has De Gama on edit duty and here things head off downtown 70’s funk style. Brass stabs, wah guitar, and spicy synth licks all combine for a track which has plenty of joyous zest as it combines disco edges with a funk packed groove combing to deliver serious club heat.

Seeing the EP out is Coldbeard and he takes up deeper still with a bubbling groove which captivates from the first notes of the dynamo synth bass before adding in electric guitar licks and a rhythm line to die for. A Funky Situation is a perfect example of how to build a track piece by piece until it becomes utterly essential. Once you have heard that Rhodes and the vocal stabs working together you just know that this one will need to be played religiously.

Four utterly essential tracks which perfectly bridge the gap from the 70’s to 2021. Nine releases deep Daje Funk delivers yet again on its mission to make funk as utterly essential in clubs again nearly 4 decades after it’s glorious genres beginnings.

From appropriation to recreation, Tato revisits Cuban sound and Mediterranean jazz by integrating it into his rumba, a rumba without borders, open to the world. His music transgresses styles to blend in with Nemir's hip hop. She inspires the most prominent Djs, such as Ashley Beedle, Art of Tones, Jeff The Fish or Raph Dumas for remixes of the title “la rumba me va” taken from his latest album “El mundo”.

With this new EP, French producer Djs Rocco Rodamaal and Dandyguel, Portuguese Fradinho and Welsh Born74 revisit new Tato compositions alternating old school groove, electro, new jazz and broken beat to ignite all the dance floors.

This vinyl is delivered with a download code and 3 dub versions

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g Crystal Clear Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Always ready to embrace new sounds and experiment with different musical genres, Donna
Summer’s 1991 album “MISTAKEN IDENTITY”, was released on Atlantic Records and produced by
Keith Diamond, who was brought in to inject a more street style, which was prevalent at that time.
• Keith Diamond had produced highly successful singles and albums for Billy Ocean, Michael Bolton,
Mick Jagger, Sheena Easton, Don Johnson and James Ingram; the latter having been heavily
involved with Donna’s 1982 album ‘Donna Summer’.
• The album includes the singles ‘Work That Magic’ and ‘When Love Cries’, as well as the tracks ‘Cry
Of A Waking Heart’ and ‘Heaven’s Just A Whisper Away’, which showed how her amazing vocals
could make very good contemporary songs sound great.
• This special edition revisits the original album on 180g Yellow Colour vinyl.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

'softcore mourn' is the forthcoming second studio album by pizzagirl. “Pizzagirl is a revolving door. I like the idea of not knowing from which entrance I’ll emerge.” To date, the audio randomiser that is Liam Brown has spat out two EPs:‘An Extended Play‘ & ‘season 2’ (2018) and debut album: ‘first timer.’ (2019). While the extended players plaited together wonky 1-900-hotline-rock and ambient infomercial electronica into perfect pop pigtails, the LP styled the rest of the Pizzagirl mannequin to deliver a Frankenstein record of split-personality genre jumping. Liverpool based and self-producing out of his home studio (The Beatzzeria), the likes of The Guardian, The Sunday Times, Vice, Highsnobiety, NME, DIY and The Line of Best Fit confirm Pizzagirl’s status as a unique, quick-witted and vital energy. DJs are also lining up to call themselves fans, with the UK’s most trusted ears in Annie Mac and Huw Stephens at Radio 1 and Lauren Laverne, Shaun Keaveny, and Radcliffe & Maconie at BBC 6 Music all backing his tracks.

Old 97s are an American alternative country rock band from Dallas, TX, fronted by lead vocalist and primary songwriter, Rhett Miller. Formed in 1993, they have since released twelve studio albums, two full EPs, and have one live album. Starting out as a popular bar band before being spotted by Bloodshed Records, they are pioneers of the alt-country movement during the mid-to-late 90s. Their Bloodshot debut LP brought them to the attention of Elektra Records, who hoped that alt-country could be a new post-grunge trend.

In 2005, Blender magazine ranked the band’s then most successful single, 1999’s “Murder (Or a Heart Attack),” as the 176th greatest song “since you were born.” Their music has been featured in a number of film and TV series, including The Break Up, Clay Pigeons, Slither, Ned’s Declassified School Survival Guide, Ed, Scrubs, Veronica Mars and Scorpion. Old 97s recorded three albums for Elektra, before moving on to New West and ATO Records subsequently.

Their fourth studio album, Fight Songs was recorded at Kingsway in New Orleans and released on April 27, 1999. The album is more-slick and pop-oriented than their previous efforts. For the release of this deluxe worldwide debut on vinyl, ROG had six-time Grammy® award-winning producer and engineer, Vance Powell, remix the 12-track album as the band originally intended; stripping off the slick 1990s-style production and sheen that helped the album get on the radio in 1999. With the assistance from the band we are also able to offer previously unreleased 1998 pre-production demos on a 3rd LP that helps to round out the complete story of this classic 1990’s alternative country record.

TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

This is one of the evergreen albums of 80’s style hair band rock that transcends the years and 2021 is the 30th anniversary of the release. evoXS is releasing Lean into It - The Singles 7” box set, which includes four 7” coloured vinyl singles with their European picture sleeves: ‘Just Take My Heart (edit)’, ‘Daddy, Brother, Lover, Little Boy (The Electric Drill Song)’, ‘To Be With You’, ‘Green Tinted Sixties Mind’, plus the bonus single ‘Strike Like Lightning’ from the movie Navy Seals, which has never previously been released on 7” vinyl.

Hillside & Matulah is a Helsinki based instrumental keys/drums duo mixing all kinds of styles and genres with their own unique minimalistic style. Risto Kumpulainen (keys) and Janne Mathlin (drums & percussion) are a known for their collaboration with several finnish blues/rock/soul-artists.

Tykopaatti, part of the finnish hiphop collective Joku Roti Mafia, has released three solo albums along with numerous collabo/band recordings. He has also released english material under one of hes alter egos; Frankly Irrational. Tykopaatti also plays drums in various groups including the finnish rocknroll/blues guitarist Jo' Buddy.

For fans of DJ Format and Ugly Duckling, this is HipHop how it should sound!

This LP finally brings a Clipping fan-favorite, 2016's Wriggle, onto vinyl in an improved, expanded version that features new art, previously unreleased remixes, and a track that's exclusive to the vinyl format. The original, digital-only Wriggle EP was six tracks that weren't finished in time to make it onto the group's 2014 Sub Pop debut, CLPPNG. For "Shooter," Clipping recorded themselves firing fifteen different guns, the sounds of which exclusively constituted the beat's drums, augmented only by a synthesized tone-row. The verses referenced the well-worn technique of "hashtag rap," but instead of using it to boast about the rapper's personal wealth and masculine prowess, Clipping put forth imagistic narratives of three violent encounters. True to much of the group's music, "Shooter" was an attempt to reframe a familiar style and test the limits of its formal capabilities. "Hot Fuck No Love" contains what might be the most explicit verse to date from Clipping's favorite New Jersey rapper Cakes Da Killa. The EP's title track, "Wriggle," was built around a sample of the influential power-electronics song "Wriggle Like a Fucking Eel" by Whitehouse, transforming William Bennett's torturous imperative into a instructional dance-floor banger. "Wriggle" and "Shooter" have become classic Clipping tracks and staples of their live show. With this vinyl edition, Clipping fans old and new - and there are many new fans thanks to their breakout 2020 album, Visions of Bodies Being Burned, and Daveed Diggs' thriving acting career - get the vinyl version of Wriggle they've been clamouring for.

Clear Vinyl

Eugene Synegal's early career as a teenager was the guitarist of Sam & The Soul Machine before moving to Los Angeles to join the group Sage and later in the 1970s recording on Lee Dorsey's Night People and The Neville Brothers records.

These previously unreleased recordings were birthed in the early 1970s, sometime during Eugene's trips back and forth between Los Angeles and New Orleans. A couple years after these recordings were immortalized onto 1/4" reel-to-reel tape an unusual crime scene involving Eugene and his girlfriend reads as if it was a chapter taken directly out of a pulp fiction novel. An Australian socialite named Patrica Galea, remained unsolved for 30 years. The robbers took $400, two diamond rings, a $1,400 cigarette lighter and two mink coats. They failed to collect Galea's $6,402 which was hidden in her freezer. This money was sent from Australia and was being used to fund Eugene's album as well as starting a new music publishing company in Hollywood. This was the life of Eugene. Playboy extraordinaire, jet-setter and guitar chops that would turn the head of Hendrix!! Around 2006 the owner of the West Hollywood apartment expressed a desire to learn more about its history and met with detectives who were unable to locate the file since it was buried in the cold cases section. The files were found, the case was reopened, solved and two men were arrested in 2007.

These recently unearthed 1970s recordings by Eugene are a reflection of his pure soul as well as a blend of psychedelia and funk that the band Sage was experimenting with in Los Angeles during that time period.

From a historical sense, these two recordings are significant because it bridges the historical and influential New Orleans music scene during the early 70's with the psychedelic rock and folk scene that was emerging just walking distance from the West Hollywood apartment that Eugene was living in with Galea during that time.

Eugene's unique guitar style paired with a deep-rooted gospel sensibility is a window into the artistry and songwriting capability of this incredibly talented man.

Jazz Montez is a music collective from Frankfurt, Germany dedicated to spreading the gospel of jazz throughout the universe. To them, jazz does not describe a particular style of music but an attitude, mindset and an approach to art and life that can manifest itself in a variety of ways. For their first vinyl release, they invited seven of the most talented and ambitious young groups from all over Germany to Frankfurt to record a track in the renowned studio Lotte Lindenberg. Despite the band's various influences, ranging from classic jazz, afrobeat and funk to hip hop, electronic music and rock, "Jazz Montez Presents Vol. I", mixed in its entirety by Drum&Bass legend Kabuki, works as a cohesive album. Pressed on high quality 180g vinyl, the record comes packaged in a beautiful and eco-friendly bagasse gatefold cover, designed by artist Clara Sipf. It features a 20 page booklet that includes a comic on the making of the album, texts by and information on the participating musicians, an interview with the sound engineers and an essay on the contemporary relevance of jazz. May this record inspire us to go through life guided by a spirit of open-mindedness and collaboration so that we may create a better, healthier and more beautiful world.

Hailing from Rotterdam, DJ Crisps returns to Time Is Now with another hot and heavy four tracker, teasing experimental genre play on the newest addition to his fast-growing discography. This exciting collection of modern garage reinventions is not to be missed.

No Dirty Money EP showcases DJ Crisps' clever production style, a mix of drama and fun; "Don't Need No Dirty Money" kicks the record off with staccato minimalist percs that have a metallic edge, effervescent vocal samples contrasting the momentous sub bass. "Dynamic Reflections" creates an icier soundscape, juxtaposed arpeggios echoing each other across a calm, deep bassline and cavernous pads - gentle, but still alive and kicking.

Lazy sax and ghostly pads open the expansive B side; "Release the Pain" then flips the energy with a Niche style bassline and cheeky garage synths. The jazz samples remain to create a real fusion sound. To end, "Sweet Melodies" pairs dirty garage with funk n soul, chopped up vocals and a classic James Brown sample making this high energy track even more vibrant - a joyous end to the EP