Search:super 3

'Ella & Louis Again' pressed on limited edition 180g premium vinyl for
super fidelity and presented in a deluxe gatefold sleeve
This was the second album pairing Ella Fitzgerald and Louis Armstrong produced
by Norman Granz for his Verve label. After recording a series of duets in the late
1940s for Decca, Ella and Louis were invited by Granz in 1956 to make a series of
sessions which would result in the memorable 'Ella and Louis'. Such was the
commercial success of the LP, the formula was repeated the following year with
the making of 'Ella and Louis Again'. Like its predecessor, it received both critical
acclaim and commercial success.

This volume "Caribbean Rare Groove" is an invitation to discover music from the cultural mix of the islands and countries located on the Caribbean Sea. From Haiti to the Bahamas via the French West Indies, this journey explores the traditional rhythms of Soca, Calypso or Biguine that musicians such as Gordon Henderson, Max Cilla or the group Skah-Shah have skilfully blended with Soul, Funk or Disco influences, creating a unique groove with multiple facets. Have a good trip!

This is the very first reissue of the super rare doubled sided single by THE SLICKERS. This very much in demand single featured two outstanding tracks, both equally wicked.

Both tracks are featured on this reissue.

1000 Robota im Jahr 2022 sind, soviel sei verraten, immer noch Sebastian Muxfeldt, Jonas Hinnerkort und Anton Spielmann. Und was macht eine Band, die schon immer den Zeitgeist angeschrien hat, mit der hochfrequenten Gegenwart? Sie durch den Fleischwolf drehen und ihr die eigene Reflexion vorlegen, genauer: Ein neues Album. Es klingt gewaltig, intensiv und intim zugleich und strahlt eine utopisch finstere Wärme aus. 1000 Robota über das Artwork: Jede Platte ist physisch (per Hand) individuell von uns gestaltet worden. Kein Artwork sieht gleich aus. Durch Heißluft werden handelsübliche Supermarkttüten um die Albumhülle geschmolzen. Faktisch gibt es kein "grafisches Artwork", es ist physischer Natur und schafft sich seine ganz eigene Form, die zu immer wieder neuen, unberechenbaren Oberflächen, Kerben und Strukturen führt, zu einer zusammengeschmolzenen und übersehenen Welt. Wahrscheinlich unsere Welt.

Ben Salisbury and Geoff Barrow’s sinister score to
Netflix’s supernatural horror, ‘Archive 81’, is now
available on LP and CD.
The CD is presented as a digipack.
The LP is pressed on black vinyl and housed in a
heavyweight spined sleeve with double sided
printed insert.
Ben Salisbury and Geoff Barrow are known for
their scores for the Ivor Novello Award winning ‘Ex
Machina’ and ‘Devs’, along with their work on
‘Annihilation’, ‘Free Fire’, ‘HANNA’ and more.
Inspired by the popular podcast of the same name,
‘Archive 81’ depicts the life of a man who comes
across videotapes full of a mysterious woman’s
adventures in an even more mysterious apartment
building. What seemed to be an ordinary job turns
into a nightmare as the strange creature that took
the woman’s life in the past seems to have found a
way back to him 25 years in the future.

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

Planet Uthboar is a conceptual album that takes the listener on a journey to the fictive planet of Uthboar, where two heroes are on a quest to stop the supervillain Art from exterminating every living being on the planet. The album is inspired by old comics and 70’s sci-fi animation movies, so think of a kind of H.G. Wells dark sci-fi style mixed with lofi house and electro - all recorded straight to an old dusty cassette recorder!

Planet Uthboar is the first release on the new Copenhagen-based label Uthboar run by C.M. Art



Key dj support:

Vladimir Ivkovic - Salon Des Amateurs: Cassette culture indeed. Nice, enjoyable one. Thank you!

Bill Brewster - Late Night Tales, Home Taping Is Killing Music: Art is super gloopy Chicago-style electrosoul.

Sean Johnston - Hardway Bros, A Love From Outer Space: Great EP!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton, Live at Robert: nice tunes!

Mr Ties - HOMOPATIC: chicago from the future

Diego Cortez Salas - Correspondant, Live At Robert Johnson: love it!

Richard Sen - Firehouse, Emotional Response, D-Edge Re: Art is the sound of late 80s Chi-tow

Subb-an returns to 20/20 Vision with 'State Of Flow' featuring vocals from Oli Gosh (Crosstown Rebels). Ash Subhan has been an integral part of the deep house and techno scenes over the last decade and more with releases for One Records, Spectral and Culprit.

'State Of Flow' is a beautiful slice of deep techno that incapsulates atmospheric layers of melodies and vocals with powerful bottom heavy bass and percussive floor control. SOF is the first collaboration between Subb-an and singer songwriter Oli Gosh and has resulted in new directions and musical landscapes.ASOF comes complete with remixes from Adam Pits and Armec.
Adam Pits delivers a devious little gem aimed at dance-floor destruction that winds it's way between a heavy garage bassline and 90's four to floor house rhythms, fragmenting the vocal around an increasingly unhinged and infectious groove. It's fusion served at it's finest and a super fresh sound perfectly placed for the current club scene.

Armec accentuates and expands the immense power hidden in 'State Of Flow' by breakin' the beats up and adding heavily swung filtered loops snaking around a massive bass. The Armec remix comes complete with a twist to its tale with the additional of a magnificently wobbly arpeggiated synth twisting our melons into a right old state.

Constant Black is one of the numerous labels in UK artist Burnski's orbit. He's been a man on form on all fronts in recent years and here he snaps up Retrospect for a trio of super slick and funky minimal house cuts. 'Ay-up!' is a cheeky opener with subtle northern welcomes hidden in the mix as the lithe bass and 2-step tinged drums do their thang. It's reet good. 'Schneebly' gets more pacey and balmy, with silky and oily bass and kinetic drum work all underpinned by a sick bass tone. Last of all comes '4 U' which has something of an upright garage skip and downright irresistible groove. These are high functioning, charismatic cuts to pump up any floor.

Repress

'Gold: Greatest Hits was originally released on September 21st 1992 and has been called one of the most influential compilation albums ever released. Gold is the best-selling ABBA album, as well as one of the best-selling albums worldwide. This limited edition double vinyl reissue is on 180 gram gold coloured vinyl.

3rd volume in Luaka Bop’s critically acclaimed World
Spirituality Classics series, illuminating the relationship between
music and belief following Alice Coltrane and “Time For Peace Is
Now”

Alhaji Waziri Oshomah begins his sermon before a dancing crowd. His
lyrics warn about the vice of jealousy but the congregation is here to get down. We’re in a small part of Edo State in southern Nigeria called
Afenmailand, which is known for being a harmonious region where Muslims and Christians live and dance together. The atmosphere is one of enjoyment, excitement, and pleasure, because to see Waziri perform is to be addressed, body and soul. He’s the creator of a unique dance music that’s fused with local folk styles, highlife, and Western pop, and imbued with Islamic values— and he’s the greatest entertainer in all of Edo State.

They call him the Etsako Super Star.

Alhaji Waziri Oshomah begins his sermon before a dancing crowd. His lyrics warn about the vice of jealousy but the congregation is here to get down. We're in a small part of Edo State in southern Nigeria called Afenmailand, which is known for being a harmonious region where Muslims and Christians live and dance together. The atmosphere is one of enjoyment, excitement, and pleasure, because to see Waziri perform is to be addressed, body and soul. He's the creator of a unique dance music that's fused with local folk styles, highlife, and Western pop, and imbued with Islamic values - and he's the greatest entertainer in all of Edo State. They call him the Etsako Super Star.

A collection of the finest Chick Corea performances from 7 legendary performances at the Montreux Jazz Festival, spanning 29 years from 1981 to 2010.

Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital.

(feat. Joe Russo)


The 10-piece ensemble founded by saxophonist Stuart Bogie and drummer Joe Russo is comprised by musicians who hail from a long list of groups, including Antibalas, The Dap Kings, Red Barat, Arcade Fire, Joe Russo’s Almost Dead, David Byrne’s American Utopia, St. Vincent, The Budos Band and Superhuman Happiness. A collaboration between old friends, Bogie's horn arrangements meet Russo's propulsive drumming in an explosive combination of woodwind and brass instruments that reimagine wind music in bold and dynamic new ways.

‘The Witnesses' speaks to urgency of the times in a musical language that laid the ground work for the project. The brass knocks, the saxophones scream, and the drums keeping you running for your life. Backed with ‘Take Them On’ - a battle song, soundtracking the internal and external summoning of the energy required to enter conflict. Featuring Eric Biondo on trumpet.

Die schwedische Newcomer Rockband Ström veröffentlicht ihren ersten Longplayer. Empfehlung für Fans von Bands wie AC/DC, Airbourne, D-A-D, The Darkness, Hardcore Superstar, Andrew WK, Turbonegro oder Bon Jovi!

Thirty years after releasing his debut album, Chill Rob G teamed with super producer C-Doc to present “Empires Crumble”, a boom bap odyssey filled with the wisdom of one of hip hop’s elder statesmen. Featuring a Flavor Unit reunion with Double J, God Lakim (formerly Lakim Shabazz) and The 45 King, Rob also teams up with Public Enemy’s Chuck D to present a rugged new version of his 1990 hit, “The Power.”

Oslo's Ultima Festival for contemporary music in 2014. The idea was to give revered Norwegian experimental electronic musician Helge Sten, aka Deathprod, access to seminal avant-garde composer Harry Partch's self-designed, custom-made, specialized, invented instruments - an orchestra tuned to just intonation, using up to 43 intervals instead of the standard 12 for the most commonly used Western equal temperament. An artist with a 30+ year career and an uncompromising reputation that reflects the emotional specificity of his uneasy, yet compelling sound, maintained throughout his expansive discography, Sten was an intriguing choice for such a project. Although he attended art school, training in electronic music and sound art, he had little experience with acoustic instruments and can neither read nor write music notation. Yet he's been engaged with Partch's music, and outsider art more generally, since he was a teenager. His resulting piece/composition for the project was originally intended only for performance by Cologne-based Ensemble Musikfabrik, for a series of concerts in five European cities between 2015 and 2018. It's Musikfabrik that undertook the painstaking, expensive process of building an entire set of the composer's creations - the second only to the originals built by Partch himself. They are the professional musicians and virtuosic instrumentalists that had to re-train and re-educate on these unknown and experimental sound sculptures in non-standard tunings. And they house this large, gorgeous physical instrumentarium and deal with the enormous logistics of working with it, sometimes shipping the fragile pieces to other locales via semi-trucks or ships. Because of such monumental efforts, Musikfabrik are notoriously guarded with recordings of the instruments. And rightly so. They're the only ones allowed to perform on them, too. But Sow Your Gold isn't Musikfabrik playing. Instead, Sten spent days and nights alone with the instrumentarium in Cologne. He played the instruments himself while recording, layering the recordings and editing without effects to compose an `audio score' for Musikfabrik to work from in order for the ensemble to perform the piece. (Partch also regularly worked this way, although he would transcribe afterwards. Likewise, Sten worked with a professional arranger to create a detailed score, too.) So, that makes Sow Your Gold an even less likely rarity - partly why its release comes seven years after its creation. If you ask Sten about the album's title, he'll point you to the text he borrowed it from - Michael Maier's Atalanta Fugiens by H.M.E. De Jong, a 1969 study of a 1617 book of alchemical emblems - and notable passages dealing with alchemy, chemistry, and agriculture, all transformative processes. And while that may sound complicated, his takeaway is simple: "You have to break something down to create something new," - a lesson he felt related strongly to his own musical process, especially in this project. So, while Sow Your Gold in the White Foliated Earth is a piece written for specific, oddly tuned, extremely rare and unusual instruments, and for a certain ensemble - namely, some of the finest contemporary musicians in Europe - Sten grew fond of the audio score, recognizing it as coming directly from the creative process in its purest, most natural form. And so from a foliated earth, where obscure tradition, treasured scarcity, immense effort, and patient certainty layer and criss-cross, comes rugged gold, polished to shining by one outsider for another.

Kid Kapichi, die Rock-Schwergewichte aus Hastings, haben sich 2019 einen festen Platz in der britischen Rockszene erspielt. Sie bieten eine einzigartige Mischung aus explosiven Riffs, knochenbrecherischen
Liveshows und ohrwurmverdächtigen Melodien des Duell-Lead-Gesangs und der Gitarre.
Die Band wird von Jack Wilson und Ben Beetham (gemeinsame Leadgitarre/Gesang) angeführt, während
die andere Hälfte ihres ohrenbetäubenden Sounds von George Macdonald (Schlagzeug) und Eddie Lewis
(Bass) stammt. Kid Kapichi hat die Bühne bereits mit Frank Carter & The Rattlesnakes, Slaves und
Nothing But Thieves geteilt und ist mittlerweile in aller Munde. Das neue Album ”Here’s What You Could
Have Won” erscheint am 23.09.

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

Kid Kapichi, die Rock-Schwergewichte aus Hastings, haben sich 2019 einen festen Platz in der britischen Rockszene erspielt. Sie bieten eine einzigartige Mischung aus explosiven Riffs, knochenbrecherischen
Liveshows und ohrwurmverdächtigen Melodien des Duell-Lead-Gesangs und der Gitarre.
Die Band wird von Jack Wilson und Ben Beetham (gemeinsame Leadgitarre/Gesang) angeführt, während
die andere Hälfte ihres ohrenbetäubenden Sounds von George Macdonald (Schlagzeug) und Eddie Lewis
(Bass) stammt. Kid Kapichi hat die Bühne bereits mit Frank Carter & The Rattlesnakes, Slaves und
Nothing But Thieves geteilt und ist mittlerweile in aller Munde. Das neue Album ”Here’s What You Could
Have Won” erscheint am 23.09.

A rediscovered untitled Mass by Adriaen Willaert "Missa Ippolito", a
hidden ode to the Cardinal of Ferrara, Willaert's patron.Adriaen Willaert
must have already been a prolific composer before he assumed the
position of kapellmeister at the Basilica of San Marco in Venice
After all, a second Mass of his was included in a large, illuminated choral
manuscript that was produced for the Illustrious Brotherhood of Our Blessed
Lady in 's- Hertogenbosch, the Netherlands (the first Mass in this manuscript,
Missa sex vocum super "Benedicta," can be found on the LP Adriano 2). The title
page of the Mass does not mention the name of the composition, only that of the
composer, Adrianus Willart. It was catalogued as a Missa sine nomine, a Mass
without a name. It is assumed that the work was composed between 1522 and
1527, at a time when Willaert was a member of the music chapel of Cardinal
Ippolito d'Este in Ferrara, Italy. At first glance, what's striking about this
composition is that one of the tenor voices sings a cantus firmus (a "given, fixed,
foundational voice" that provides the basis for each movement of the Mass, to
which the other voices are added) that always consists of the same 13 notes: mi
ut mi sol mi ut fa mi fa mi re mi.
In an article about the Mass, the musicologist Joshua Rifkin claims to have
discovered a sogetto cavato delle parole in this sequence of notes. This is a
compositional technique common for the time in which the notes of a melody, in
this case the cantus firmus, are derived from the vowels of certain words. The
notes used for the tone poetry are those of the Guidonian hexachord, a series of
the 6 notes ut-re-mi-fa-sol-la.
For example, the word Maria (Ma-ri-a) can be "translated" into the notes la mi la.
The cantus firmus of the Mass, according to Rifkin, fits the words "Primus
Ippolitus Cardinalis Estensis" (Ippolito I, Cardinal d'Este) perfectly. The Mass is
thus almost certainly (via a hidden message in the music) an ode to the Cardinal
of Ferrara who was Willaert's patron. This rediscovered untitled Mass by Adriaen
Willaert, which we have now sung as a world premiere, can therefore rightly bear
the name Missa Ippolito.

For the first time, super drummer Steve Gadd reunites with his friends
from the "Gadd Gang" days, Eddie Gomez and Ronnie Cuber for a
production with the multiple Grammy Award-winning WDR Big Band
Under the direction of Michael Abene, a deeply grooving album was created,
centered around Steve Gadd and his friends. They are joined by Bobby Sparks II
and Simon Oslender as special guest musicians. The recordings took place in
Studio 4 of the WDR in January and February 2022. Classics from the Gadd Gang
repertoire can be found on Center Stage: "I Can't Turn You Loose," "Che Ore So',"
"Them Changes," "Way Back Home," "Lucky 13," "Honky Tonk/I Can't Stop Loving
You" and "My Little Brother."
A perfect mixture of groovy songs and an excellent ensemble around Steve Gadd
guarantee highest entertainment value.

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

David Lovato’s first outing as LOVA, the superb Gypsophilia EP, was one of NuNorthern Soul’s most lauded and cherished releases of 2021 – a gorgeous collection of emotive, sun-soaked sounds from the mind of a producer who got his chance on the imprint after handing a USB of tracks to Phil Cooper at Hostal La Torre in the summer of 2020.

Now, the EP returns for 2022 in expanded form, with a trio of fresh, mood-enhancing remixes joining the three original tracks featured on last year’s release. It’s those – ‘Cecilia’, Lovato’s glistening, emotionally resonant musical tribute to his baby daughter, mid-tempo nu-disco gem ‘Echoes of Memories’ and the stunning, sunset-inspired ‘Esperanza’ - that form the first half of the EP, with a trio of reworks following in hot pursuit.

Long-time friends of the label Leo Mas and Fabrice, an Italian duo famed for their brilliant Balearic reworks whose individual and collective histories stretch right back to the late 1980s (Mas, for example, was one of the resident DJs at legendary White Isle venue Amnesia at the back end of that decade). Given this shared Balearic history, it’s fitting that they step up first and give their spin on ‘Cecilia’. Making the most of Lovato’s stunning, reverb-drenched guitar licks, dreamy chords and atmospheric pads, the pair delivers a shuffling, club-ready interpretation underpinned by a locked-in dub disco groove. It’s a fine take on a track brimming with positivity and joy.

Hear & Now, an Italian duo best known for delivering a trio of brilliant albums on Claremont 56, give their interpretation of ‘Echoes of Memories’. Beginning with a mixture of quietly colourful chords, enveloping sonic textures and hazy guitar motifs, the mix gently builds as it progresses, with the pair introducing a pitched-down house groove, chiming electronic melodies and alluring elements from Lovato’s original version. Like much of Hear & Now’s work, it sits somewhere be-tween Balearica, slow-motion electronic disco and the Rimini-friendly dream house sound that marked out Italian club cuts at the turn of the ‘90s.

To close out the EP, rising star Danilo Braca – an Italian producer based in New York City who began DJing in his home country way back in 1996 – gently leads ‘Esperanza’ towards the dancefloor. Braca is a member of production duo Synth & Soda, whose 2020 remix of DJ Harvey presents Locussolus track ‘Berghain’ was selected by the man himself as the winner of an online competition. On this solo revision, Braca wraps a punchy, Latin-tinged house beat in cascading melodic motifs, bubbly synthesizer arpeggio lines, rising and falling electronics and pads so sumptuous you might want to marry them. Simultaneously morning fresh and sunset-ready, Braca has delivered a classic-sounding chunk of Balearic nu-disco/deep house fu-sion.

Gypsophilia Remixed is the latest volume in NuNorthern Soul’s Myths of Ibiza series of EPs, which all feature specially commissioned artwork from illustrator Emily McGuinness. This time round, McGuinness’s distinctive artwork depicts Tanit, the ‘protector goddess’ of Ibiza. A warrior deity of dance, fertility, creation and destruction, her spirit is said to watch over the island’s West Coast, particularly the area around Atlantic and the mysterious Es Vedra rock.

Right On Time - Trojan Rock Steady is the 2nd part of the exclusive Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of Trojan’s finest are featured on this compilation; as there are The Gladiators, The Melodians, The Gladiators, Ken Boothe a.o.

It comes as no surprise to discover we are massive fans of Marcos Valle here at Mr Bongo, but this forgotten and obscure gem from the Brazilian maestro has proven to remain elusive to us until very recently.

'Girassol' is a lost Brazilian-boogie stunner from 1983. It was originally released as an ultra-rare promo only 7”. Composed by Marcos Valle, Paulo Sérgio Valle and Ribeiro José Francisco, this all-too-short nugget (under 2 minutes) was recorded and pressed on the Valle, Ribeiro & Associados Ltda. imprint for Rede CB De Supermercados. It was a promotional item to be distributed to customers of a supermarket chain as a gift. Due to not having any conventional distribution channels this resulted in the 7" becoming a slippery customer to find.

It’s a smooth AOR / Brazilian boogie joint with an uplifting chorus. The vibe is reminiscent of the much loved ‘Estrelar' era of Marcos Valle’s glorious recording career, and certainly one for fans of the Lincoln Olivetti, Robson Jorge production sound.

AM006 is by Berlin's ML, titled 'Life always breaks your heart'. Two 30-minute pieces were written, constructed, collaged and fixed together by himself. It's an important story, so there's a copy from ML below and also ours was written by Bokeh Version Industrial to do it justice.

Hallucinated Brazilian poetry read by text to voice engines, supernatural thrillers ripped from Youtube, the clang of cutlery and distant canteen conversation, that noise wire fencing makes when you rake it with a stick, crickets chirping over odd dance emotions, a sample you think your recognise but can’t name…..

The trivial is cosmically important, the cosmically important is trivial. ‘It’s about the product’ - all of life’s a sample. You contain universes.

Alice in Wonderland, late night sessions with kosmische guitar legends, ethnographic chants from an unknown land, “There’s no monopoly of knowledge / there’s no monopoly of power”: forecasts from global political trends, China will be important they say, someone’s whistling a tune that doesn’t exist, I’m thinking of times long before I was born . . .

Growing naturally like a beautiful montage from his field recordings (a rich library of personal psychoacoustic details) and his 150 Session on NTS, ML's Life Always Breaks Your Heart is mixtape-concrète:

Gamelan of the soul, Bio-Curry-Wurst in Kreuzberg, zither overlays the booms of the squatter’s homegrade grenades…

Mark Leckey vs. Alvin Curran, Gustav Flaubert vs Cabaret Voltaire, free association flashbacks with the timestamps mixed up, with added bass guitar, OP-1, Ableton, distinguishing the ‘real’ instruments becomes unimportant….they’re absorbed by memory foam….

No country, no flag – outernational without a cause!

There is no purpose, there is only reverie.

ML -

"A useless ruin, things are falling apart, even in our deepest, we long for harmony. A hypothetical path, for obscure reasons, fades into transparency. The mediocrity of Western culture, sicken by P.R., life offers a chance, a place for enthusiasm. The texture of the world, them can read it in your eyes. In the heart of schizo-culture, distance, suddenly shortened, forms characters as symbols. Deafen by mass media, embittered by unsettled chemistry, the willing body, forever in transition. The pre-invented existence, owned by language, creates a passage towards chaos. Paragraphs of currents, amplify the feelings, while silence leaks into the new luxury of time. Gentrification of sentiments, beneath our palms, all these memoirs. A modern consciousness, stretching over years in narcissistic differentiation. In touch with another human spirit, blowing backwards, beneath dark waters. We put our hands on your body, onto a new landscape, employed by metaphysical mutations. At the edge of the cosmos, prairies and mountains hide the truth in tactical silence. Apparently so, a number of months ago, above our head, a landscape of journals. Mystical content, statistically insignificant. A new patio, them crawled through the walls."

Remastered rarities by the late Susumu Yokota under his 246 and Prism monikers. Go Up was originally a defective release which has since been corrected and remastered and Vol 3 - 02 was not released. It also features a megamix of Ambient Love and Squeeze Up (which feature on Cosmic Soup 005) by Gene On Earth and a remix of Flare's Grip - Prism Remix by Matthew Herbert titled "Herbert's Make It Right Dub". Three legends on this EP. Superbly remastered and cut by Mike Grinser at Manmade in Berlin. Artwork by John Williams.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

After the enormous global success of their debut album “Forever Young“ (1984), German trio ALPHAVILLE set off to write another successful chapter in their career with the release of their second studio album “Afternoons In Utopia” (1986). The album reached Top 20 positions in five European countries and featured the singles “Dance With Me,” “Universal Daddy,” and “Jerusalem.”
Personally supervised by ALPHAVILLE founding members Marian Gold and Bernhard Lloyd, “Afternoons In Utopia” has been remastered for the first time. “Afternoons In Utopia (Deluxe Edition)” will be available as Deluxe 1LP (180g) including the remastered album, a 24 page booklet with rare and unreleased photos in a gatefold sleeve.

Supergrass’ hugely successful third album reached #3 in the UK album Charts and #13 US Billboard Heatseekers Chartin 1999 and has amassed over 300,000 sales in the UK alone since its release.

Released as 1LP black heavyweight vinyl, 1LP neon orange vinyl and 2CD.

This 2022 re-issue has been fully remastered from original sources and includes the hit singles ‘Pumping On Your Stereo’ (UK #11), ‘Moving’ (UK #9), ‘Mary’ (UK #36).

The 2CD is a 4 panel digipack with 16 page booklet featuring rare band photos and new sleeve notes.
By acclaimed journalist Charles Shaar Murray

Disc 1: remastered album, Disc 2: rare / demo tracks, alternate, live versions and 4 new track remixes (2 of which done by John Leckie). Includes several previously unreleased tracks and versions. Tracklist compiled by Supergrass..

Album remastered by original producer John Cornfield, with Supergrass bassist Mick Quinn.

Restored original artwork with newly inspired inner bag artwork from original 90s promo singles. Lovingly crafted by Supergrass.

Rubini’s “Le Cahier de Occelli” marks 10 years! Dedicated to the legendary Group-B Rally era, it was our fourth release and one of the first to elicit a certain interest from the deep-house international scene at the time. To celebrate, we asked two of our beloved artists to remix this definitive slice of Degutibus Music electronica, with the results proving why we love them in the first place. Superpitcher delivered a 14-minute oneiric voyage of “Le Cahier de Occelli” whilst the B-side received a nervous blow-up from I:Cube for “Easyleft Henri” (the track originally dedicated to Henri Toivonen, Rubini’s personal hero).

These monster cars are still roaring!

Marbled Vinyl
In the wake of Portable’s acclaimed album My Sentient Shadow comes a trio of remixes which expand on his unique slant on techno and synth-pop. Finding three artists who reflect his own experimental
tendencies within dance music, Alan Abraham’s original productions head into unexpected new places while retaining the physical, club-ready energy he manages to instill in his own creations.
A true auteur within techno, DJ Qu brings a sense of poise and drama to ‘The Spacetime Curvature’ as he patiently builds the track into a fierce peak time monster driven by snarling bass and his signature sizzling, shuffled percussion.
Patrice Scott has a reliably smooth, immersive approach to deep Detroit house, and it lends itself beautifully to Abraham’s melancholic vocal on ‘I Feel Stronger Now’.
Leaning in on the jazz dimension of his wide-ranging electronica, Call Super revels in the sweetness of ‘Ripple Effect’ and places delicate piano playing upfront before slipping into a relaxed, sentimental kind of garage and eventually edging towards an uplifting, off-centre strain of house music.
Individual in their own right and yet naturally entwined with the emotional intention of the original versions, this is a set of remixes which pay full credit to the source material while offering something
you won’t expect, like a great remix should do.

Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

2022 repress !


It’s been 11 years since we released the first Spektre production on Noir Music and I’ve been a fan of their music for even longer.
So it’s a great honor to have them back on the label with this amazing Shadowline release. The UK duo is currently making some serious noise in techno-world and well deserved as they keep shooting out great music. On this specific release I wanted the guys to show off their excellent production skills, so we get both their in your face, raw and unpolished sound with the acid opener “The Maze” and the more trippy, afterhours
hypnotic title track “Shadowline”. “Planet Noir” sits nicely in between with Spektre’s hardhitting beats and signature melodies.
On top of that we got an incredible remix of “The Maze” by Robert S (PT) who made the acid-journey more minimal and underground.
I’ve had these tracks for quite some time and I don’t get tired of playing these. In the fast-moving techno-industry that’s saying a lot. I am honored and super happy to have the guys back on my label.

REISSUE

This superb recording features a reunion of two of jazz"s finest - tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell. At the time of this session, the two had not been on a recording date together in 32 years. Here they revisit "If Could Be With You One Hour", a song they first recorded in a classic version back in 1929. Pee Wee Russell, though often mistakenly associated only with Dixieland jazz, defied classification. His unorthodox playing and highly individualistic and spontaneous clarinet style pushed boundaries. Coleman Hawkins is almost unanimously considered to be one of the first prominent saxophonists of jazz, and he had a crucial role in the development of bebop in the 1940s. This brand new reissue of the 1961 album is available on CD and LP (180g) and has been remastered from the original Candid Records master tapes by Bernie Grundman.