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Organic sounds, eclectic compositions and infinite grooves – we’re proud to present our very first label compilation BEATS LIKE SUMMER, Vol. 1. Composed of 17 instrumental tracks that circle HipHop, Jazz, RnB and Soul, this project is a journey through different soundscapes. It unites some of the finest beat makers and instrumentalists from around the world, including Kiefer, K, Le Maestro, DAO, Saltyyyy V, Shuko, agajon and many more. Artwork by GABE and Alex Plesovskich. Creative Direction by Robert Winter.

Limited edition LP release with inside out sleeve, main artwork embossed, sticker on the back!

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.

Bloodywood from India are the hottest new band in the Metal-genre. Millions of followers online and a growing fanbase! The self-released debut “Rakshak” finally released as a proper vinyl edition!

Formed in 2016 as a fun band, Bloodywood from New Delhi, India are the hottest metal band right now! They bring everything you need in 2022: aggression, global ideas, visionary views, politically correct behavior and standing up for minorities from all walks of life. The band around the three heads Jayant Bhadula, Karan Katijar and Raoul Kerr managed to break into the international charts on their own and gathered an incomparable fan following. What started out six years ago with Bollywood and Linkin Park-covers has grown to a size that's expanding by the day. Bloodywood fans can now be found all over the world, millions of people have heard their songs and watched their videos, the wave can no longer be stopped. Now the debut “Rakshak”, which the band self-released in early 2022, is finally out on vinyl! In the summer of 2022 they will storm the European festivals, make their point in the USA in September and return to play their long-awaited clubtour through Europe, which was postponed due to the pandemic, at the beginning of 2023. Tickets are already running low. In a year at the latest everyone will know who Bloodywood is. Tom Morello (Rage Against The Machine) already knows it and has drawn his fans' attention to the Indian metallers with a tweet: "Rocking!" he calls the Indian sensation. Among other things, the musicians are involved in animal welfare and social projects and use traditional Indian instruments such as the tabla, dhol or bamboo flute. They mix it with rough thrash metal, urban rap vocals (English/Hindi/Punjabi) and rock-hard grooves. That creates a lot of uproar, at times sounds like open street fighting and, despite the regional references, has an absolutely international level. Especially since moderate sounds also find their place on “Rakshak” (Hindi for “protector”), as can be heard from the tracks 'Zanjeero Se' and 'Jee Veerey'. Bloodywood definitely deliver Linkin Park-standards here and even open themselves up to target groups that are less metal-savvy. The majority of this album rages like an unleashed tropical storm ('Dana-Dan', 'Chakh Le') is decked out with an impressively rabid force and hardly allows the listener any breaks. This mix is what makes it so successful: the album entered the Billboard charts, making them the first Indian metal band to do so.“Rakshak“ was also successful on Bandcamp, where it topped the platform's album sales upon release and was ranked as the 22nd best-selling new release of all time (as of March 2022) and the 3rd best-selling metal release. Rock for a rebellion that will be unstoppable!

Dynamite Cuts gives you a superb double of the Jazz funk bboy breaks classic “Sweetie Pie” by Stone Alliance.

This heavy, drum-driven sax groove is a Jazz dance floor classic.
Sampled by Showbiz & AG’s – Runaway Slave release.
The B- side is a first time on 7” for this version that was recorded in 2004 and only released as a CD.

The INCREDIIBLE trio is:
Drums Don Alias
Bass Gene Perla,
Sax Steve Grossman

A Delicate degustation for the finer palette, Taste the Bass is the latest seasonal sound delicacy via your favourite dysfunktional deep throb duo Ambien Baby. Stepping up their songwriting skillz and staying true to their heady primal sophistication, Nap & D.Tiff indulge in vocal explorations laced throughout 4 tracks, cries of couplet writing and hints of daring duets lingering on the lips. The hypnotic electroclashed EBM is served with superior rhythmic complexity and sonic depth, as per usual, niche on the streets ~ screech in the sheets.

A heartfelt ode to the synthesizer that first bound them together, passion, rage & a reminder to never-ever forget to groove; all four songs come prepped rave ready, mise en plus! Clean, mean inspired techno leaning freakouts that nail that midrange tempo, filled to the brim with that special ingredient no pretenders can purchase. A raw audio feast fit for the gods… although it took God 7 days to create the earth and Ambien Baby created this in 4.

Now onto its fourth volume, NuNorthern Soul’s annual Summer Selections EP is fast becoming a must-check for fans of slow-motion sunshine sounds, contemporary Balearic beats and sumptuous downtempo grooves.

Summer Selections Four showcases six hand-picked tracks from EPs and albums to be released by NuNorthern Soul in 2022. A genuine ‘cream of the crop’ or ‘best in class’ feel, with NNS label boss and curator Phil Cooper putting together a varied EP piled high with evocative melodies, atmospheric chords, tactile grooves and ear-catching instrumentation.

First to step up to the plate is experienced producer James Bright, whose cut ‘Amber’ offers a bubbly, colourful and analogue-rich stroll through mid-tempo Balearic house territory. The track is one of the highlights of Bright’s forthcoming Totem EP. It’s quickly followed by ‘Nana a Leon’ from Be.Ianuit’s Entre Dos Islas EP, a gorgeous mixture of deep bass, twinkling pianos, sultry synth-strings, sparkling synthesiser arpeggios, echoing machine drums and spoken word vocals from guest performer Marcos de la Fuente.

San Francisco’s Cole Odin offers a snapshot of his forthcoming Songs For Suns EP via ‘Growing’, a slow-motion sunset soundscape built around ethereal chords, chiming melodies and head-nodding drums, while Gold Suite’s ‘The Cowboy’ – taken from the On My Horizon EP – brilliantly joins the dots between jangling Americana, mid-‘80s Balearic reggae and sun-soaked instrumental synth-pop. While brand-new, it could easily be mistaken for the kind of obscure, hard-to-find gem that gets Balearic record collectors so hot under the collar.

Next up is another new signing to NuNorthern Soul, North of the Island, whose debut EP Feeling Free is undoubtedly a highlight of the label’s 2022 release schedule. ‘I Feel’, the track showcased here, adds attractive, sunset-ready musical flourishes to a chugging, delay-laden rhythm track and the kind if squelchy bass-line most often found in proto-house and early ‘80s electro-funk cuts. It’s a spaced-out, mind-altering delight.

Rounding off another sizzling Summer Selections excursion is ‘Smoke & Fly’ from fast-rising twosome Residentes Balearicos, an Ibiza-based Italian duo who impressed many with their 2021 EPs on Balearic Ensemble. Dusty, bass-heavy, drowsy and picturesque, the track is a simply gorgeous chunk of Balearic dub piled high with organic percussion, undulating acid lines and mazy solos. It provides a fittingly triumphant conclusion to another essential sampler EP from NuNorthern Soul.

Not to be confused with English commercial funk outfit, Lou Ragland's Hot Chocolate trio steamed out of the Cleveland scene in the early '70s powered by their own recipe of groove-forward R&B. Housed in a replica jacket showcasing Dick Dugan's ubiquitous cartooning, Numero is proud to present the first American repressing of this Forest City touchstone since its original release; a steaming mugful of funkier-than-thou tunes from the incomparable Ragland songbook. Hot is, after all, funk's ideal serving temperature.

Not to be confused with English commercial funk outfit, Lou Ragland's Hot Chocolate trio steamed out of the Cleveland scene in the early '70s powered by their own recipe of groove-forward R&B. Housed in a replica jacket showcasing Dick Dugan's ubiquitous cartooning, Numero is proud to present the first American repressing of this Forest City touchstone since its original release; a steaming mugful of funkier-than-thou tunes from the incomparable Ragland songbook. Hot is, after all, funk's ideal serving temperature.

Classic 1995 techno-house cuts by Glenn Underground under the moniker of Jellybean.

In our church we're celebrating Love, Peace and Harmony.
House music is our bible, our god has no gender, and everybody is welcome, as long as
they can feel the groove.
Lift your soul up to the beat of faith.
And let The Church Of Love be your House.

Legendary American musician Brian Jackson announces his first solo album in over 20 years,
‘This Is Brian Jackson’, produced by Phenomenal Handclap Band founder Daniel Collás and
released on BBE Music.
Brian Jackson earned mythic status among music fans thanks to his pioneering work with Gil
Scott-Heron in the 70’s, where his flute and electric piano performances on ‘Pieces of a Man’
and ‘Winter In America’ virtually defined the sound of an era. From the 80s onwards he went
on to record with Kool & The Gang, Will Downing (whose debut album he produced), Roy
Ayers and Gwen Guthrie among many others, and while many veteran musicians tend to
stick with the sounds they know best at some point in their careers, Jackson remains an
unusually adventurous, vital and broad-minded artist to this day.
When the Phenomenal Handclap Band’s Daniel Collás first met Brian Jackson at a
performance in New York, right off the bat he said “I think I could produce you”. “I wasn’t
sure why he thought that,” says Jackson “but I considered it a challenge to find out. Turns
out that he was right.”
Early on in their friendship, Brian mentioned that he’d embarked on a solo project right
around the time he recorded ‘Bridges’ with Gil Scott-Heron in 1976. There were even some
unfinished demos, but the album had never materialised. Daniel leapt on the idea, asking
“what would a Brian Jackson album sound like if the 21st century Brian were to complete
that 1976 album today?” Completed in a series of twice weekly sessions over 11 months in
Daniel’s Williamsburg studio, ‘This Is Brian Jackson’ provides the answer.
“We sketched out musical ideas, drank way too much coffee, consumed way too many
tacos and sampled perhaps a few too many exotic whiskeys while talking about things that
were important to both of us personally. The lyrics for the songs are a result of those
conversations” says Jackson.
Contributors to the album range from Jackson’s guitarist, bassist and longtime friend Binky
Brice (Billy Ocean, Evelyn Champagne King, Roy Ayers), Collás’s occasional writing partner
Morgan Phalen, Latin Grammy-winning flautist Domenica Fossati, drummers Moussa Fadera
and Caito Sanchez, and Phenomenal Handclap Bandmates Juliet Swango and Monika
Heidemann.
And the music? Vintage, soul-stirring Brian Jackson, with the great man’s warm vocals,
distinctive flute and lyrical keys taking centre stage. The songwriting feels timeless, the
arrangement effortless, the production human and analogue. From golden-era soul-funk
opener ‘All Talk’, through soaring Afrobeat-inspired dreamscape ‘Mami Wata’ to compact
groover ‘Little Orphan Boy’ which closes the album, ‘This Is Brian Jackson’ is simply some of
the veteran artist’s best work yet, subtly and lovingly framed by Daniel Collás.

Taking inspiration from the likes of Isaac Hayes and Lonnie Liston Smith, ‘Piggyback’ is up-tempo and simmering from the off, with synth strings building tension in the intro alongside a menacing guitar riff and haunting brass stabs.

‘Piggyback’ is a social commentary on the idea that we all become more successful only by associating with people higher up the ladder than ourselves.

‘Deeper In Love’ sees Corbin return to his soulful roots, drawing influences from the likes of Al Green, Syl Johnson and Leroy Hutson to create a smooth groove helped along by some stunning horns and backing vocals.

Speaking about the song Nick says, “Lyrically it was partly inspired by John Legend’s ‘Ordinary People’ - I wanted to write a love song about how challenging times can bring people closer together. The last year or so has really tested a lot of relationships and I felt it was important to have light and shade.”

Recorded at Ernie McKone’s Boogie Back studio in North London, Nick is supported by a stellar line-up of musicians including Mick Talbot on Hammond and Wurlitzer and the dream team horn section of Tom White (Labrinth) and Paul Jordanous (Rag 'n' Bone Man).

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

Classic Double Black Vinyl, DL card. The Nightingales' last original full-length for two decades stands as the final masterpiece postpunk album released before the C86 era. Back on vinyl for the first time in over 3 decades, the reissue is updated to include the whole of the 1985's 7" single "It's A Cracker" and "What A Carry On" 12" EP, plus a clutch of rare tracks never before released on vinyl and a bit of history from Robert Lloyd. Despondently anti-Thatcher and with an air of hopelessness, In The Good Old Country Way has the sense that time was allowed for experimentation and reflection during its creation. Expectations were high as The Nightingales released their sole Vindaloo album and possibly the most underrated album of the postpunk era. The opening number is heavy on the hoedown, not unlike records their pals The Mekons would release around the same time - a rootsy underlayment to songs of wit, energy and observation, adaptable both to lengthy groove-based observation and high-octane rants alike. Maria Smith's violin weaves in and out of songs, while the rhythm section of Pete Jenner (bass) and Ron Collins (drums) hold what might have been a disjointed mess, but it's multi-instrumentalist / arranger Pete Byrchmore who shares the spotlight with Lloyd. "It's A Cracker" stuns, not stylistically dissimilar to their recent records for the first ninety seconds, though featuring a bridge hinting at new developments in their sound which could be heard on the next Nightingales release, ‘What A Carry On’. A sublime record, it features the powerful title track in two version, one of the band's best songs, "Comfort And Joy", and the tenderly alienating "First My Job". "Lloyd's cracked it. A fucking good album." Mark E. Smith, The Fall.

Translucent purple 180 Gram vinyl with Download card including all 12
tracks that appear on the CD
Over a 45-year career as one of the world's top blues musicians, Ronnie Earl has
transfixed audiences with his distinct sound of emotion-laden blues. On his own
and with his band The Broadcasters, Ronnie is a four- time Blues Music Award
winner as "Guitar Player of the Year," with 28 albums and multiple chart-topping
compositions in his catalogue.
Ronnie sets the songs of this album into context with a quote from Rev Dr Martin
Luther King Jr prominently placed in the album art: "The Blues tell the story of
life's difficulties, and if you think for a moment, you will realize that they take the
hardest realities of life and put them into music, only to come out with some new
hope or sense of triumph."
These songs present triumphant Blues - uplifting and hopeful songs that point to
a better tomorrow, including "Soul Searching," "A Prayer for Tomorrow," "The Sun
Shines Brightly" and "Your Love Keeps Lifting Me Higher And Higher." Celebrating
artists who have contributed to the theme of hope, Mercy Me includes "Blues for
Ruthie Foster," "Blues for Duke Robillard" and "Dave's Groove" (co- written with
Dave Limina).

BLOODBATH'S 2002 DEBUT FULL-LENGTH STUDIO ALBUM MARKS ITS
20TH ANNIVERSARY, ON MID-PRICE CD - FEATURES THE LINE-UP OF
ANDERS NYSTROM, JONAS RENKSE, MIKAEL AKERFELDT & DAN
SWANO.Bloodbath is a titan of death metal from Stockholm, Sweden,
notable for the inclusion of Katatonia & Opeth members & in their recent
era, welcoming Nick Holmes of UK doom legends Paradise Lost to join in
with the brutality
Formed in 1998 with a mutual fascination for horror & the glory days of death
metal from classic bands such as Entombed, Morbid Angel, Cancer & Autopsy,
Bloodbath has remained a leading light of extreme metal since their 'Breeding
Death' EP was unleashed back in 2000 & a formidable force for over 20 years,
cemented in recent times by their 'Grand Morbid Funeral' (2014) opus & its followup, the even blacker-hearted 'The Arrow Of Satan Is Drawn' in 2018. Debut album
'Resurrection Through Carnage' was released in 2002 & built on the foundations
laid by the 'Breeding Death' EP, with a continuation of the classic old school
Swedish sound & d-beat style, whilst notably establishing a maturity & identity of
their own. The album introduced more dynamic & controlled, groove- laden
passages & melodic/atmospheric texturing, whilst still infusing the compositions
with influences from the genre's glorious past.
As with 'Breeding Death', Bloodbath's line-up of Anders Nyström & Jonas Renkse
of Katatonia, Mikael Akerfeldt of Opeth & Dan Swanö of Edge of Sanity remained,
with production & engineering duties once more handled by Dan Swanö & the
band.
This edition of 'Resurrection Through Carnage' marks 20 years since the album's
original release & is presented on mid- price CD with 8- page booklet including
lyrics

Three albums in the novelty has worn off, but Dengue Fever has smartly
chosen to keep evolving - Venus on Earth is at once the band's most
accessible and most varied release
A recap: when first heard from in 2003 on their self- titled debut, Dengue Fever
was like no other band, fronted by a Cambodian-born woman, Chhom Nimol, who
paid homage to that Asian nation's pre-Pol Pot cheesy psychedelic-cum-loungesurf-garage pop sound of the '60s/early '70s. For Venus on Earth, the mainstream
beckons, or comes as close to beckoning as it's ever going to for a band as nonmainstream as Dengue Fever. Nimol's vocals are as beguiling as ever, Ethan
Holtzman's Farfisa organ still swirls, Zac Holtzman's guitars still chime and chunk,
and Paul Dreux Smith's drums clang happily along. With horns provided by David
Ralicke and bass from Senon Gaius Williams, Dengue Fever has softened some
of the rougher edges, injected some serious soul, and added more swing to their
thing. "Oceans of Venus" could be an outtake from the first B-52's album, "Clipped
Wings" a lost Blondie tune, and "Woman in the Shoes" is just one of the most
cuddly pop songs in ages. The groovelicious Nimol- Zac Holtzman duet "Tiger
Phone Card," a tale of a long distance Phnom Penh- NYC romance, is the pop
smash Yoko Ono might have had in an alternate universe. Drenched in reverb,
soaked in sweat, marinated in some phantom historical moment yet tethered to
the now, Dengue Fever is more innovative and resourceful than 99-percent of the
bands that receive 99 times the publicity.