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A recreational offshoot of the band Pleasure, Portland's Lights Out were led by their trumpeter Tonmy Collins as a way of staying musically exercised, pushing the envelope and getting a few local bookings on the side when Pleasure weren't on the road. Their sound started out as jazz fusion but they soon developed into a monstrously funky synth/-led funk rollercoaster. as vocalist Andy Stokes and guitarist Greg "Gee Mack" Dalton fronted the band.
The four tracks here were recorded as a demo for Solar Records in 1982 at Wave Sound Studios - a facility more used to housing punk acts such as The Wipers and The Rats - but the label 'fumbled' it and the band fellow apart soon after. Some 40 years on, the likes of 'Surrender Your Love' and 'Tonight' still sound fresh as the proverbial daisy, and likely to lure feet onto the dancefloor.

Chad Pulley makes his first solo appearance on John Beltran's All Good Music label, although keener eyed spotters will know that Pulley and Beltran previously collaborated on a track under the Bel-Pull Productions moniker. He steps up to the task ably, slipping into All Good style comfortably with the calm and melodic, gracefully coasting techno of 'Through My Eyes', before the flip side reveals the wistful 'Mesmerizing Blue', where pianos and synths call and respond over exotic rhythms. 'Sticks' completes the set, slightly harder and funkier than its two predecessors but again with an emphasis on musicality, off kilter danceability and originality. On this showing, a name to watch.

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.
In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”
When Covid forced Hannah from her salon in San Francisco to become a backyard mobile hairdresser, what she saw inspired them both and the lyrical foundations for their new record. “I’d drive to mansions and people would complain about how hard the pandemic had been next to their swimming pool and tennis courts.” First meeting after the album’s co-producer Jason Kick (Mild High Club, Sonny and the Sunsets) recruited the pair for a Halloween band covering Eurythmics’ art-rock debut ‘In The Garden,’ the pair hit it off and shapes & colors is a product of the years that followed. It combines Chris’ own rhythmic demos following years on the road touring and opening for Amon Tobin, Matthew Dear and Generationals in Maus Haus with Hannah’s lyrical musings honed from project Cassiopeia, so even when topics are as heavy as the beats, they’re met with luminously positive arrangements of hope and warmth.
The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.
Casting a brighter rainbow still, in all its pastel-hued glory, Hannah, also illustrated a self-portrait of the band for the album artwork. “It reflects our makeshift recording studio to encapsulate all aspects of that time and space,” she shares of their abode where, over an intense two-week period and fuelled by the aroma of fermenting vino from the winery below, their single chord, bass and drum-heavy, groove-first momentum took them on an unexpected journey whilst the next-door couple would fire pizzas in their yard and a grandfather across the road would sweep the street clean. “We’d drink coffee and start the day, consistently working, without interruption,” Chris tells of finding their flow. “The loft is a cool space with skylights, tall ceilings and no shared walls so we could be as loud as we wanted to be.”
Just as well. Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists Greg Poneris (drums), K. Dylan Edrich (Vocals, Percussion: congas, bongos, chimes, cow bells and wood blocks, tone drum and tri-tone whistle) and Tom Smith (Guitar, Synthesizers, Vocals).
NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

Wipe your blade clean. The bloodline of Eastern European kosmische and groundbreaking, grinding cinematic psych rock finally emerges from fifty years of forbidden forestland to fill your thirsty grails. Poland’s prime progressive provocateurs Żuławski and Korzyński finally expose the jagged roots of Possession and The Silver Globe and give the devil his due via this historical vinyl release.

If an opening strapline that reads “Forget everything that you thought you knew about the history of psychedelic rock and horror movies” appeals to you, then further potentially hyperbolic phrases like “Lost Grail” and “Banned Forever” will surely clinch the deal, leaving the hugely significant wider context of this dream come true release surplus to requirement. But as we hope you have come to expect from Finders Keepers releases “The devil is in the detail” and the fact that any mention of the perpetually elusive original master tapes to a 1972 project entitled Diabeł and the phrase “Holy Grail” have become synonymously associated only adds the twisted irony that surrounds this genuine masterpiece of both aforementioned fields.

For those fastidious enough to pursue the hunt, these unearthed recordings represent the crowning glory of the lifelong unison of Maestro Andrzej Żuławski and filmmaker Andrzej Korzyński, two genuine mavericks of Polish experimental cinema who challenged artistic and societal norms, on both sides of a politically restricted regime and on an international artistic stage, without compromise. Friends since childhood, Korzyński and Żuławski may have become divided by limelight and geography (Żuławski the intrepid emigre), but they remained united in their kaleidoscopic creative vision, resulting in a fractured stream of troublesome and mind-bending golden era collaborations such as Possession, The Silver Globe, and Third Part Of The Night. This long-awaited liberation of the psychedelic masterpiece known as Diabeł finally completes the duo’s full vista with what many consider the most vital piece of the prism.

Nestled within the fields and forests surrounding Oslo you'll find Raaja Bones. There, in Raaja's secluded studio surrounded by vintage synthesisers, modular equipment, samplers and drum machines, is where he makes music that owes as much to his personal tastes as it does his identity and upbringing. 'Black Dreams', released 2nd July on Snorkel Records, is where this venn diagram of influences overlap, from the shimmer of e-funk and the effortless grooves of soul to the unashamed, heartfelt honesty of 80s pop.

From his studio retreat in the heart of the Norwegian forest, Raaja Bones astral projects to adistant paradise, glancing the frosty tips of Norwegian fir trees on his way to exotic locations. Trading the Scandinavian fjord for a beach in Miami, Raaja finds a bounce in his step, moonwalking his way across groovy keys and shuffling beats through Boardwalks . A sonic palette echoing with the reverberations of bygone days, playing on a collective nostalgia, a Kodak moment turned gif, frozen on a telephone screen. Hazy chords and playful melodies glisten against temperate rhythmical zones as they roll through the arrangement. Disembodied vocals float in a steamy fog above warm tones, as Raaja's voice passes through the record like a spectral dream. A rusty vignette forms within crystalline tones as bold synthesizers are coerced into reluctant musical forms, ambling through cheery earworms and rousing rubber bass-lines.

If we want to look into the future, we have to start considering the implications more holistically. All too often, science fiction is a dystopian projection of the current era's grimmest realities spiked with pragmatic historical hindsight - but what if instead it was able to reflect our needs, hopes, and dreams? On "SPINE", award-winning Danish composer SØS Gunver Ryberg considers a sustainable alternative, buoyed by interconnectedness, empowerment, and understanding. Channeling her dextrous sound design into advanced, time-bending music that fluctuates through techno, experimental ambient, and soundsystem-vibrating bass music, she maps out an artistic landscape that's futuristic and complex, but never oppressive.

Ryberg is an accomplished producer who's developed her sound over many years, playing concerts and working tirelessly on video game soundtracks, film scores, dance, performance, and multichannel installation pieces. Her first solo album "Entangled" appeared in 2019 on Berlin's esteemed Avian imprint, and was praised for its sensitive approach to noise and abstracted techno, while its EP-length followup "WHYT 030" was nominated for the Nordic Council's prestigious music prize this year. "SPINE" is the inaugural release on Ryberg's own label Arterial, and stands as a thematically dense statement of intent. The label provides a platform to extend Ryberg's artistic goals and reflect not just her world but a world she wants to see develop in the future: somewhere connected and creative, where exploration and free expression is prioritized over genre division and petty compromise.

This philosophy is central to the sounds on "SPINE", which have been carefully sculpted to accurately lay out Ryberg's worldview. Opening track 'Unfolding' presents a sonic ecosystem that flourishes as it spreads itself out, and quivering kick drums vibrate alongside unstable atmospherics. There's the faint fingerprint of Chain Reaction's notional dub techno in there somewhere, but Ryberg interrupts the thought before it can coagulate, assuring the listener that her vision isn't ponderous but playful and optimistic. This mood flickers into view again on the title track 'Spine', as fragmented breaks rumble beneath disorienting synths, faint images of a life we once knew refracted into cosmic beams of light. 'Mirrored Madness' meanwhile is warm, assertive, and optimistic, contrasting skittering cybernetic percussion with dense, enveloping harmonies.

When she pushes rhythm into the background, like on the cinematic 'We tumble on the edges', Ryberg's compositional skill is placed under the microscope. We're presented with the opportunity to examine another dimension of her work, the mystery beneath the stone, hearing saturated, alluring pads infused with hidden harmonies. In these moments, Ryberg implores all of us to consider the environment, asking us to think about the earth's essential nutrients on the dreamy 'Phosphorus Cycle', and what we might do to save ourselves on the delirious 'Where do we go from here'. Ryberg's concern isn't chastising, it's laid out in a warm embrace. The future could still be bright - there's something beautiful in the complexity if you just take the time to look closely.

Modal Analysis proudly presents Het Zweet - Archives Volume 1: 1982-1988, a compilation of the Dutch outsider legend painstakingly picked from over 100 hours of unheard tape. An early electronic pioneer who deployed an array of homemade instruments alongside synths and a tape recorder to craft his searching sound, Marien Van Oers occupies a lonely branch on the tree of this music's early efforts, sliding between pounding industrial grooves, ambient fragments, and extended, entrancing compositions bridging this divide. Most closely akin to Muslimgauze, Test Dept. or Fad Gadget, who shared his outsider practice while remaining thoroughly entrenched in contemporary sounds, Het Zweet is striking for his diversity and for its meticulous composition, formed of carefully arranged layers of sonic detritus culled from his collection of homemade devices and electronic distortions. Finally rising to greater exposure since his death in 2013, Modal Analysis passionately continues this mission with our first volume of archives dedicated to the memory of this bold innovator gone before his time.

BITE label head Phase Fatale aka Hayden Payne drops his first EP in 5 years 'Nailed To The Net' and his first solo release on his own record imprint. The Berghain and Khidi resident develops his sound further into the dancefloor and techno sphere while still maintaining his signature post-punk influence. The innovative techno producer and DJ combines his spectrum of dystopian, gritty, industrial electronics with his deep understanding of synthesis and sound design. This sonic approach is all the more exemplified in Rrose's remix of 'Desecrating Vows'. The release finds Payne taking his productions to new levels by including different musical elements such as breakbeats, arpeggiations, and massively layered chordal sequences. Reflecting the last year when he produced it in Berlin, injecting all broken hearted emotions from then, each track contains more groove and nuance while having dense, shoegaze-alike atmosphere and melodies. Even containing distant voice and guitar elements, 'Nailed To The Net' maintains his trademark balance between the dancefloor and his eclectic influences.

Cocktail and power-bossa vibes meet shots of clavinet-funk in the new single by Milan-based producer Larry Manteca, a relentless creator of soundtracks for imaginary films in various genres – from the erotic to the spaghetti western, and from crime to zombie-horror.

Manteca's debut on 7" vinyl could only have happened under the aegis of Four Flies Records, whose team went and hand-picked two of the grooviest tracks in his bulimic output, both recorded in 2015 for the sci-fi/erotic-themed album Mutant Virgins From Pluto (the title says it all!).

"Ufo Bossa" is a delicious, uptempo bossa-jazz number cast in an ultra-lounge style and spiced up with references to Les Baxter's and Martin Denny's exotica, as well as to pop/erotic sci-fi soundtracks like Bob Crewe's Barbarella, with the added bonus of Yasmine Zekri's sexy scat singing. On the flip side you have "Intergalactc Porno Scene", a typical poliziottesco theme where clavinet and flute interweave into a super-funky groove, before synths come in and send us into erotically-charged space orbit.

Available as a 350-Copy Limited Edition 7-inch, and as a Digital Remaster.

NYC leftfield disco darlings Phenomenal Handclap Band made their first appearance on RNT by way of a collab with JKriv in 2022, and now they return for an offering all their own, the Burning Bridges EP.

The title track juxtaposes riffy guitar driven funk with plaintive vocals that smack of 1970s Heart in the best way, and Prins Thomas turns the tempo knob up a few clicks and launches into an extended interstellar excursion with his remix.

On the B side the cinematic slow burner ‘It Was The Summer’ begins sparse and hazy and builds to driving peak of backbeat rhythm and an insistent vocal soliloquy. Each Other (Justin Strauss & Max Pask) then take the tune straight the rave with arpeggiated and acidic synths, recasting the haunting vocals as a modern New Wave anthem.

In this new chapter of Lab, the two minds behind the label collaborate on a record that represents the two souls of the label. The break-techno-ish dance-oriented Slak vision, and Datafive introspective sonic adventures. The ep has two tracks from each producer and one collaboration by them. On one side, we can see the evolution of the Slak sound where he evolves from a dubby and lightful identity from the first ep to a new darker and solid sound. Pressure and Under Control, two dark and groovy UK break-techno missiles. Dark atmosphere and powerful drums ready for the dancefloor. Flipping the record, we find two eclectic tracks by Datafive. Plenty of influences here: electronic, glitch, IDM, hip-hop, dubstep, to name a few. The first track of the side is Outsiders, a journey into the artist’s feelings. Mysterious pads, mid-tempo syncopated drums, warm basses, dreamy chopped vocals, and more. The Hive instead explores the territories of the classic UK-step heritage. Vibrant sub-bass, ethereal textures, and solid stepper beats. The last track is Patience, a collaboration between Datafive and Slak. Meditative, yet powerful cyber trip-hop. We have dark-dub pads and stabs with sharp broken beats which portray a desolating landscape of a lost future.

Following up his debut “Sycomore” EP signed in 2015 on Arboretum with a remix of Samuel Kerridge, the Italian born, Berlin based electronic music producer Mogano returns on Voidance Records with his new work “Terrarium!. By revisiting the initial approach of re-processing traditional eastern instruments such as the Egyptian Rebab into cinematic landscapes and sharp gritty textures, this work also consistently moves towards more Industrial, Techno, IDM and Drum&Bass territories. The Mediterranean cultural bridging got even more refined by the contribution of the Maltese producer Llimbs wich reveals a vibrant, ritualistic reinterpretation of the opening track “Terrarium”.

A true modern-day pioneer of house music, Amsterdam-based DJ, producer, and label owner Malin Genie is only getting better as he continues to add to his rich catalogue of releases.

Whether producing darker, more-minimal leaning productions on his Vigenere imprint through to his contributions alongside Lazare Hoche and S.A.M. as 1/3 of Mandar, his wide-reaching sound sees his productions primed in the record bags of the scene’s most renowned names, with his ‘Phaethon EP’ providing a perfect showcase of this talent.

Welcoming a collection of house gems from across the spectrum - from glistening, resonant synth-driven productions to skittering low-end heavy cuts and warping, twisting efforts - this is arguably his most diverse release to date as he marks his return to Up The Stuss in exemplary fashion.

Esa's Aweh label is back with its second release, this time Esa’s Afro-Synth Band share their Brazilian boogie influences on “Vem Comigo”, which migcatch live over the summer at some festivals including Lente Kabinet in Amsterdam, or The Jazz Cafe in London. This is a special collaboration with singer/ songwriter Diego Moraes from São Paulo, and Forest Law who’s part of the Afro-Synth Band. Vem Comigo features in The Invisible Hand Podcast project, and Aweh continues the storytelling of these important topics.

Equipped with a cassette porta studio and a mic found in a recycling bin, Your Planet Is Next has put together an album of 10 tracks stripped down to their essentials. Half of the them were produced using a Yamaha CS-01 synthesizer and a Yamaha MR-10 drum machine — the perfect 1982 budget combo — while the other half were made solely with a Yamaha CS-10 synthesizer and a Boss DR-55 drum machine, both from the late 70s and budget options even in their heydays. As many times before throughout music history, pristine sound quality had to be sacrificed for pristine creativity... After all, ideas are what makes the world turn, not high fidelity!

MORE EPHEMEROL is one of the most fresh and surprising minimal synth project we have heard in months at Oráculo Records. Recorded with a fully analog systems, the simplicity and quality of the arrangements and the overwhelming vocals reminds to the best era of the genre back in the 80’s but with a new approach that makes it sound so fresh and new. The L.A.’s duo, with an amazing album coming up soon after this presentation EP, will be for sure an important player on the international synth scene. Comes presented in one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

Nirvana's third LP is a masterpiece of late UK sixties popsike turning into symphonic pop, but not having received proper promotion despite being equally good as, if not better than their previous releases, it also marked the end of the collaborations between Patrick Campbel-Lyons and Alex Spyropoulos back in 1969.



Nirvana presented it to Island boss Chris Blackwell under the title of Black Flower. Blackwell, however, decided to turn it down for release, but gave the masters to Campbell-Lyons and Spyropoulos so they could find a new label to release the album. That was to happen in the USA through Metromedia Records in 1969. At that time, the label's owner went through a scandal due to the payola days, which left Nirvana's third offering without any promotion - as a result of that, very few copies were pressed. There was also a UK release on PYE and it was even released by Metromedia in Japan. However, for years it remained as "the lost" Nirvana release, with the added fact that none of the released editions launched the album under its original title of Black Flower but under the rather cryptic Dedicated To Markos II (read why in the liner notes!).



Musically, this is Nirvana at their best. The tune that should have been the title track, Black Flower, is an incredible piece of symphonic psychedelia and probably the best produced Nirvana track ever. Campbell-Lyons and Spyropoulos were backed for the occasion by Spooky Tooth, who played on many tracks of the album, and big orchestral arrangements mesmerize the listener in one of the duo's darkest offerings. This song aside, the rest of the album was deemed as sounding too much like a French soundtrack by Island, which may do at some points –without that being a bad thing,– but there is a lot more to it, since Nirvana have not lost that popsike edge that characterised their sound in their two previous outings.



This is also a record that was widely acclaimed in the hip hop scene. And samplers of it have been used by several artists, most notably DJ Shadow used Love Suite in his 1996 debut album Endtroducing.



The Wah Wah edition has been remastered from the original tapes by Roger Prades @ Prades Mastering and comes with a bonus 7" EP and a four page colour insert with liner notes by Malcom Dome, plus a sheet with the lyrics of the songs. First ever official vinyl reissue since 1970 in a limited edition of 500 copies only!

2023 Repress

Hypnotic Beats and Melodies to put you in a Trance

Formed in 2015, gaining the reputation of
"The new Middle Eastern music pioneers"
72 shows a year, weddings and festivals
People from diverse ethnicities, Transcending musical borders
Come together on the dance floor

Representing the region of Israel and Palestine
Dabke music with Fresh mix of Dub, Gnawa and Trance
From the hills of Jerusalem, to the dunes of the Sahara
In a Bass heavy 4X4 drive

The music of the Blue Desert is based on the regional music styles
The repetitive hypnotic melodies, burning rhythms and endless virtuosity
takes the crowd into the deep dunes and oasis of the Blue Desert.




Bio:

Yossi Fine, Bass master producer, one of the most well known musicians and producers in the world today. Grammy nominated, Produced over 40 albums around the world, reaching 20 gold and multi-platinum albums. Yossi has produced, recorded and played with David Bowie, Lou Reed, Gil Evans Orchestra, Vieux Farka Toure and many more. Yossi plays bass and a special guitar he built, playing traditional songs and hits from the blue desert.

Ben Aylon is defined as a boarder-breaking drummer and percussionist, best known for his unique "New-African Drumming" style and cutting edge hybrid drumming techniques. Inspired by the deep Senegalese Wolof drumming, Ben creates explosive-burning rhythms with a sound of an entire tribe of drummers using African and modern drums. Ben Recorded and played with: Bombino, Doudou Ndiaye Rose, Awadi, Khaira Arby and many more.

Completing the band's sound is Sharon Mansur on Synth-Bass and Keyboards, the princess of the Middle-Eastern keyboards. Sharon is at the forefront of the emerging new Middle

'In Session' is the debut album from UK dub producer Mali-I released on None More Records. Mali-I is Mali Baden-Powell (Z Lovecraft / Rhythm Section / Monzanto Sound).
Huey Morgan, Don Letts and Jamz Supernova have played singles 'Heaven Sent' and 'This Place' on BBC 6music and 1extra, with regular airplay across NTS, WWFM and KCRW stations.
The album draws on Mali-I's deep love of UK dub and the likes of sound system innovators such as The Bug, Wackies and Channel One, but brings in contemporary London sounds via his long time affiliation with London party and label Rhythm Section. Mali-I is joined by a host of killer guest vocalists across the record, including the inimitable Natty Wylah, the heavenly vocals of Ms. Ray, J Caesar's soulful voice and Lincoln Barrett's deep and moody snarl across two tracks.

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Tracklist:

Naomi Akimoto - Bewitched (Are You Leaving Soon), Atsuko Nina - Tonkachi, Miho Fujiwara - Heartbeat, Miharu Koshi - Scandal Night, Chu Kosaka - Shirakechimauze, Teresa Noda - Tropical Love, Makoto Matsushita - Business Man Pt. 1, Susan - Ah! Soka, Yukako Hayase - Suiyoubi Madeni Shinitaino, Parachute - Kowloon Daily, Hiroyuki Namba - Tropical Exposition (Who Done It? Version), Pizzicato Five - Boy Meets Girl, Mari Iijima - Love Sick, 1986 Omega Tribe - Cosmic Love, Osamu Shoji - Pub Casablanca, Chiemi Manabe - Untotooku

WRWTFWW Records is very excited to present a new full-length collaborative project by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian/Swiss trombonist Andrea Esperti (Esperti Project): Music for a Cosmic Garden.

Recorded during the heights of the pandemic and completed in February 2021, the majestic 8-track ethereal/botanical soundscape created by Kokubo and Esperti is available as a limited edition double LP, a digipack CD, as well as in digital format.

Takashi KOKUBO, environmental music figure, celebrated sound designer, and founder of Studio Ion, has released over 20 albums, including the genre-defining and highly sought-after Ion Series. He's also played a major role in the sonic identity of Japan, creating the country’s mobile phone earthquake alert sound, credit card payment validation jingles, and much more. In 2020, Takashi Kokubo received a Grammy nomination for his track "A Dream Sails Out to Sea, Scene 3" off Light in the Attic’s Kankyo Ongaku compilation. He is known for recording “sound scenes from nature” around the world using a binaural CyberPhonic microphone of his own invention and for his very unique brand of healing music.

Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) with a globe-trotting approach: encounters with peers, rhythmic exchanges, and unplanned music projects; this is where lies the foundation of his work.

Music for a Cosmic Garden is an ode to celestial botanics, a contemporary and hallucinogenic take on the soothing ambient genre immortalized by artists such as Midori Takada and Satoshi Ashikawa, a beautiful pairing of synthesizers and the mighty trombone, taking you to a meditative galaxy far, far away, where other-worldly is just another word for cozy.

Recommended track for maximum pleasure: "Gaia’s Love Theme".

repress, blue marbled limited version

The label imprint of the beloved Berlin based club Paloma delivers its eighth release, and it was created by none other than a vogueing encyclopedia of musical and club culture knowledge (plus a cherished Paloma resident DJ). The disco professor: Daniel Wang.
It is his first original production under his own name in many years, and you can easily tell that this is not a tool to join in with dancefloor conformity (after all, his first album was called Idealism for a reason). Daniel Wang had already evolved from innocently enthusiastic sampling to synth wizardry during the heyday of his legendary Balihu label, and while studying the masters, he became one himself.
DSDN is an ode to nocturnal Berlin and its party community, a city that never left the centre of international attention for its vital and influential scene. Daniel Wang is a part of it since twenty years, and he was influenced by what he experienced as much as he left his mark on many nights, both as a DJ, and as a producer.
Of course, this release follows the traditional structure of a Disco EP by using a main tune DSDN with complementing dubs and instrumentals. Four to be exact, because four is the magic number with this format. DSDN reflects the internationality of the clubs across town in English and German words and pays homage to all the districts, and it effortlessly manages to unite sounds of both 80s NYC and Italo disco, 90s NYC and Italo house, synthpop and rap before it became too successful, balearic vibes before they became a mere excuse, and then it just majestically unfolds into both a charming summer hit and a complex opus magnum, but all an aural sunbeam that blows a kiss to those who emerge from recent sensations in clubs, bars, parks, and streets. Alone or together, happy or sad, resolute or irresolute, tired or energized, or all at once.

BT67 presents Colombian producer / promoter and DJ Non Punire with a mini-album entitled Espeletia. Member of the defunct Vltra Delta Drive, Espeletia sees the Colombian exile delivering a masterclass in Giallo-infused synthwave and electro.

Throughout 6 tracks, the EP blends suspense and drama for the discerning dancefloors.

Eddie Leader’s Northern PowerHOUSE imprint Hudd Traxx has, over its 17 year history, become synonymous as a home of quality underground sounds. As a label that has consistently kept the vibe alive through its unwavering insistence on quality over quantity, it has seen many masters of the craft feature on the Huddersfield-based label... Including Agnès, Chez Damier, Chris Carrier, Brett Johnson, JT Donaldson, Rick Wade and more.

As we kick-start ’23, Hudd Traxx announce an exciting new series of releases… Hudd Influence. A new run of vinyl offerings that see label boss Leader digging deep, licensing, remastering and pressing to vinyl a spicy selection of joints that have played their part, not only in his own musical journey, but also in influencing the foundation of the Hudd Traxx label.

Volume One brings us four choice cuts from House music royalty, kicking off with the Todd Terry’s 1992 classic ‘When You Hold Me’, taken from his debut ’The Unreleased Project’. Next up, the ‘Body N Soul’ Mix of ‘Get 2 U’ from long-time friend of the label, Jovonn, under his 1999 alias LYON. On the flip we’re treated to ’Touch Me’ (Dub Touch Me Mix), the ’94 production from Chicago’s Danell Dixon, alongside a huge Eddie Leader favourite in The Diggers 1996 jam, ‘Jazztaker’s Dub’.

Whether this is a first introduction or a reaffirmation of their greatness, Hudd Traxx are excited to provide a fresh platform for these true house classics.

Keep ‘em peeled for Vol. 2!

The next release on Phase Group is a truly singular and original album from Rotterdam-based producer Ayaz.

With ‘Unpinned’ Ayaz presents a window into a uniquely crafted and highly personal sonic environment, where intercepted radio broadcasts tune in and out of focus, modulating drones echo through cavernous space and the sound of experimental synth explorations are layered over heady dub-laden beat work, deep bass lines and expertly programmed traditional sampled artefacts from the music of his native Azerbaijan.

This is an uncanny and evocative sound universe both cinematic and driving, music that would work equally scoring science fiction cinema as in the most avant-garde club environments. Mind-bending and visionary music for those that explore.

The beautifully mysterious Ourpeggio - so heavily supported by TEED and Bonobo - finally lands on Food Music.
The timeless original takes you to another dimension with it's melancholic synth patterns and exquisite middle eastern vocals which weave around a tripped out groove, whilst the Shadow Child remix loses the four-to-the-floor, instead fusing Garage and Rave breakbeats which will keep you entranced until sunrise.
This one's set to turn heads for a long time.

Often credited as the “Mother of Hip-hop”, Sylvia Robinson was a seminal blues-turned-soul singer, producer, and writer who released a slew of sultry and sensually charged records in the 1970s as a solo act and in the duo Mickey & Sylvia. Pillow Talk remains her most intoxicating work; a steamy bedroom funk record featuring her illustrious breathy, intimate vocals embedded with silky acoustic guitars, lush orchestral strings, piloted by a series of soft, subtle, and seductive clubby rhythms that still sounds fresh and entrancing today.

Parlophone Records proudly announces DAVID BOWIE, A DIVINE SYMMETRY, the vinyl companion to the 4CD/1 Blu-Ray box set, released in November 2022.

This 1LP brings together early mixes of HUNKY DORY tracks originally featured on the BOWPROMO album in 1971 along with new alternative Ken Scott mixes to create an alternative version of the Hunky Dory album, also featuring the session outtake ‘Bombers’.

1971 was a pivotal year for Bowie. He signed a record deal with RCA, he met Andy Warhol, Lou Reed, and Iggy Pop while in New York, became a father and penned the song ‘KOOKS’ as a show of paternal pride, played live for the first time that June with Mick Ronson, Woody Woodmansey and Trevor Bolder, the band that would later be christened the Spiders From Mars and recorded the classic album HUNKY DORY.

ADN Ckrystall is the pseudonym of French synth experimentalist Érick Moncollin. Armed with a Crumar, Multiman 52 with brass pedal and sustain/volume pedal, two Kawai Synthi 100-F, Roland CR-65, Korg PS-3200, Roland Jupiter-4, a Boss flanger, MXR phasing and a TEAC 8-track recorder he produced his first LP, Jazz'Mad, with the help of synth expert sound engineer benoit Hutin. The LP was self-released in 1982 to critic aclaim and generated a fan base that has turned it into a timeless classic, having been reissued four times since then.



But what most people don't know is that Moncollin produced a second album with songs written 1982/1983 that has remained unreleased ever since. Only recently he found the tapes in his parents' house and transfered them for it's first ever vinyl release.

Warp setzt die Autechre Reissue-Serie mit den Alben #6 und #7, 'Confield' (2001) und 'Draft 7.30' (2003), fort, die beide seit Ende der Nullerjahre nicht mehr erhältlich waren. 'Confield' erscheint als Doppelvinyl mit bedruckten Innentaschen und DL-Code (WAV/FLAC/MP3). 'Draft 7.30' kommt als Doppelvinyl mit bedruckten Innentaschen im Hochglanz-Cover und DL-Code (WAV/FLAC/MP3).

- 'Offcuts from grooves, traces of symphonic strings, limping breakbeats, a weird oriental tune. What sounds like computer confusion becomes quite a beautiful picture of the chaos of your brain.' - The Guardian****

- 'Es existieren auf Draft 7.30 Momente, in denen die Musik fließt. Ein reißender Strom ist zwar ein Tümpel gegen Autechre-Tonströme, aber die subjektiven Definitionen von Ruhe und Entspannung waren schon immer vielfältig. Sicher ist nur eines: Der Nachbar wird weiterhin genervt sein.' - Sven Niechziol

2023 Repress

Originally given a digital-only, Bandcamp-only release back in the summer of 2016 RVDE's '90s Hammer' has become a sleeper hit, slowly but surely growing through word of mouth, YouTube plays and DJ support. Now Perc Trax has licensed it from its original home T/W/B, added two brand new remixes and given it the vinyl release it always deserved as the label's final release of 2019.

It all starts with the original mix, a whirlwind of heavy kicks, triplet synths and gangster shout-outs. Heavy music isn't often as hook laden as this and you can see why Perc has been a huge fan of the track since its original release.
Next up Perc Trax welcome's Slovakian legend DJ Boss to the label for the first time. Boss is already a hero to many Perc Trax artists including Sawf and Perc and as usual he doesn't disappoint with a sub-heavy rolling 4/4 mix.

Flip it over and up steps Perc for the second of the new remixes.
The Perc Trax boss pulls no punches as he adds gun shots and his trademark slicing snares to an explosive arrangement that has been a highlight of his sets around the world since summer.

Finally Anthro's excellent remix from the original T/W/B release completes this four track 12". The noisiest and grimiest of all the mixes on show here, it rounds off one of Perc Trax's most solid pieces of vinyl in a long time.

Cosmic Romance is the first LP from Los Angles producer MoodHay that beams down to planet Earth in a swirl of lush synthesisers, hypnotic melodies and warm grooves. It’s a journey of emotions, contemporary and classic all the same. The album orbits around earthly elements of R&B, funk and house, seamlessly blurring in a unique way that MoodHay pulls off with an endearing ease here in the early 21st century. It’s a sonically beautiful love note with a lot of attitude that pilots right to the center of your soul, while keeping your body rocking out real smooth.

MoodHay’s hilltop studio is like a hidden oasis out in the desert, mystical and soothing, where he brings gems (like the ones you’ll hear on this album) to life. He sings and plays all the instruments on this record (minus the hot sax on ‘Melodies’) and is truly blooming as a songwriter.
MoodHay has such a fresh energy around him that is certainly felt throughout Cosmic Romance and these songs were methodically crafted to maximise the vibe out on the dance floor on this planet and others out there.

As part of the legendary Canadian label Unidisc's ongoing 40th anniversary celebrations, Lime's 1983 HI-NRG masterpiece is back with a super-fresh 2021 re-rub from the one and only Tiga.

Husband and wife duo Lime (aka Denis & Denyse LePage) notched up tons of hits with their own unique brand of fast paced electronic disco and Italo leaning dance-floor bombs. 'Angel Eyes' was one such hit, a driving vocoder heavy synth fest with whiplash electronic drums and serious attitude to boot that can turn any discotheque into throbbing sweaty hysteria! Who else could lend their own style and flavour to such a momentous track but the man Tiga, whose darker edged and chopped up poppy remix takes 'Angel Eyes' into altogether different territory! Absolutely essential repress, beautifully presented by your friends over at Unidisc.

2023 Repress

* Tales of the Inexpressible” was released on Twisted Records in 2001.

It was a much anticipated and well loved successor continuing in the pioneering spirit of the debut album and in this exceptional follow up they gave us plenty more multi-dimensional surprises and new sonic realities to explore and immerse ourselves in.
From the opening sounds on “Dorset Perception”, the first track featuring flamenco guitar and Latin percussion, we can tell we are in for some incredible planetary as well as interplanetary trips on this musical voyage as Si & Raj take us for a spin though their musical worlds, full of influences garnered on their travels to the 4 corners of the earth.

As the Star Shpongled Banner unfurls, the immeasurable beauty of the album is illustriously illustrated with blissful cascades of Indian Flute washing over the minds ear and achingly beautiful synths rippling with dimensional dub effects throughout. As the Shaman’s voice resonates through the digital dream, the Shaman’s drum begins to beat leading us to a vedic celtic crescendo.

By the time Room 23 emanates from the loudspeakers, Shpongle have confirmed their position as the true pioneers once again, shining a light on the deeper development of the Psybient and Psychill sound and unmistakably elevating the consciousness of the listener to previously unheard of heights by bringing the eddying currents of Raj’s magical flute lines and Simons mellifluous keyboard riffs and genius production style together in an extraordinary hallucinogenic mix.

The album holds 9 gems glistening in hyperspace, gems of unmistakable brilliance and radiant beauty in which every composition contains worlds within worlds, as explored by Raja and Simon on their epic voyages into the depths of musical exploration and recounted in these tales.

They have been the soundtrack to innumerable visionary voyages for the neuronaut cognoscenti, because of the multi layered sounds, shapeshifting focus and awe inspiring depths of the advanced Shpongle production techniques. Tales of the inexpressible is quite literally, beyond description and has been a part of creating so many beautiful moments that its absence from our lives is unimaginable. 

2023 Repress

* Nothing Lasts But Nothing Is Lost was the 3rd incredible installation of the Shpongle epic released in 2005 on Twisted Records. Now remastered for 2019.
It proved to be yet another masterclass in the psychedelic fusion of the worlds between musical genre and sonic geometry.
Simon Posford & Raja Ram interweave an impossible myriad of melodies on guitars, vocals, oud and horns with hifidelic sounds of masterfully manipulated glitchy synths and Raja’s inimitable Flute and otherworldly vocal mutations to create these majestic musical soundtracks.

The album famously features 20 tracks (which on vinyl appear as 8 separate tracks) designed so that every one flows seamlessly into another, continuously evolving like a musical hologram. Each new sonic world reflecting a psychedelic spectrum of the uniquely altered states of audio reality that Shpongle are renowned for.

With every track opening doors to new musical vistas, we are blessed to witness the ever changing sonic scenery that constantly shapeshifts in tone, timbre, tempo and time signature.

Opening with kaleidoscopic mandalas of a mythical music box that morphs into psychedelic funk on “Botanical Dimensions”, we know when Raj’s twisted vocal breaks that we are deeply in “Outer Shpongolia”. The diversity of musical sound surfing is unparalleled, touching on both established and newly invented genres such as latin glitch funk, arabic trance, psyfidelic dub, psychedelic samba massive with massive brass band riffs in “The Stamen of The Shamen” and even snake charmer techno- breaks on “Turn Up the Silence”. Nothing Lasts But Nothing Is Lost effortlessly and seamlessly emerges from one to the next and is a musical journey of such gargantuan portions that they barely fit into a 1 hour epic audio adventure!
On the third fantastical instalment of the Shpongle story, Raja & Simon tickle the synapses and kicking up the dust as evolutionary psychedelic textures and other worldly spaces meld with an irrepressible 4 to the floor of the Kickdrum liberally sprinkled throughout the album.

The mystical maestros undeniably delivered another astounding audio adventure, flipping the sonic switch for tripping without a hitch and earning its rightful place of any psychedelic connoisseur. 

• The Bob Andy catalogue is one of the most celebrated in the history of Jamaican music. His touchstone LP from
Studio One is a best-selling singles compilation simply entitled Song Book, a cornerstone of the Studio One
catalogue.
• Nine of 12 tracks recorded for this project appeared on Song Book.
• Bob Andy's works have been covered dozens of times, Tarrus Riley "Desperate Lover"; Bitty McLean "Let Them
Say"; Beres Hammond "I've Got To Go Back Home," Olaf Blackwood "You Don't Know"
• Focus tracks: Tarrus Riley "Desperate Lover”; Bitty McLean "Let Them Say"; Beres Hammond "I've Got To Go
Back Home," Olaf Blackwood "You Don't Know"
• Liner notes written by Herbie Miller

Souk is delighted to present the sophomore album from a true fixture in Cairo seething electronic scene who should, by now at least, remain anonymously famous behind the 3Phaz moniker. Both as a way to make focus on the music itself regardless of identity and to sever ties with past projects, 3Phaz acts like an entity in itself, a most suitable conjuration of sounds past and future gravitating on their own dimension. Though connections are inevitable and welcoming with home turf artists such as ZULI or Rozzma, the Souk catalogue or percussion obsessed travelers like DJ Plead or errorsmith, 3Phaz's dalliance with the traditional sounds of Shaabi and Mahraganat and possible intersections with Grime, Techno and Bass-heavy subcultures feel very much their own.

Stripping away some of the dankest & darkest layers that made his debut album - Three Phase - such a dystopic proposition, Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.   

Braindance is the second, highly anticipated, collaborative EP from Irish producer DJ Mudak 2000 and French producer FTL, landing on their new label as the debut release.

Produced in Dublin & Paris, the two prolific junglists have encapsulated the intricacies of modern jungle while still highlighting the emotive elements of yesteryear.

The first track "I Wanna" begins as a fantastically light, classic jungle track with piercing soul vocals that unpacks into a soaring brawl of amens and intense 808s. A great representation of the duality of light and dark elements which make this whole EP a standout.

A2 "Barriers" is a driving, high tempo club ready cut. There is absolutely no messing about with this one, in your face reese business for the peak timers. On the flipside, title track "Braindance" is a complex yet ethereal roller carried along by hovering staccato vocals that are contrasted with a deep cutting sub that will hit you in all of the right spots.

The final track "Chasing A Dream" lives up to its name as its emotive synth lines and Sad Boys-esque cowbells will fill you with the tangible feelings of want and passion.

Film d'ouverture de la sélection "Un Certain Regard" lors du Festival de Cannes 2022, "Tirailleurs" met en scène Omar Sy, également coproducteur du film, dans la peau d'un jeune père sénégalais s'engageant en 1917 dans l'armée française afin de sauver son fils enrôlé de force. Alexandre Desplat, compositeur à la stature internationale multi récompensé, nous propose une partition sombre, où les percussions et les cordes tiennent une place prépondérante. Les instruments à vent et le piano sont quant à eux utilisés pour explorer des thèmes plus mélancoliques et introspectifs