quête:the ant

Master of snare disaster "Limewax" strikes back hard again on this huge 4 track EP on PRSPCT. Delivering all things great this disturbed but brilliant producer has to offer. Drum & Bass for the freaks and outcasts that crave for more then just a rolling beat.
2 solo tracks + 2 collabs with the likes of L 33, Switch Technique, Dieselboy and Thrasher. Did we mention this release is huge Hell yeah we did! Well it's a good thing as its double huge anyway!

All Hail Limewax and HouJeKKMuil!

A mechanism of auditory and cognitive silk.

Our second vinyl edition is a very special summer release,
As this series is firmly installed in a crossroads of sounds, showcasing original material by Monopolar and Signal Deluxe, that is taken way up high in the sky with a couple of stellar remixes from 2 of our favorite artists in the world: Jay tripwire and Jacek Sienkiewicz.

It's bit special this time cause a side is an early 90s house anthem AKIS produced and on the flip side you have the demo he recorded at Vangelis Katsoulis studio during the late 80s.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

repressed !

Following the 7' revisiting Candi Staton's much-loved gospel anthem, this Glitterbox Recordings 12' features four diverse remixes of 'Hallelujah Anyway', three of which are new to vinyl. Kicking off with Larse's Vocal mix, touching deeper territory with a mid-tempo house rendition, Dr Packer's indulgent piano-littered mix is next, picking up the energy and re-introducing the disco beat. Italian producer Moplen delivers a 90s-influenced Classic Club Vibe mix, maximising Candi's uplifting vocal. Finally is FK's Director's Cut Signature Praise 12' Edit, a Frankie Knuckles and Eric Kupper production which is available here on vinyl for the very first time. Picking up the pace with soaring synths and a grooving beat, the mix takes the anthem firmly back to the dancefloor, compelled by the original song's call for jubilation. Four must-hear mixes from Glitterbox, breathing fresh energy into this timeless record.

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

Drum & bass pioneer and Hospital Record's crown jewel Danny Byrd is back! He's set 2018 ablaze with monolith anthems 'Devil's Drop', 'Salute' ft MC GQ and 'Hold Up The Crown' ft Ky Lenz, now he proudly presents his first album in five years.

A 15-track funk-fuelled compendium of rolling dancefloor-fillers that tributes to the jungle foundation moulding his early discography. Collaborations with the likes of I-Kay, Maduk, Ownglow, Times x Two and MC GQ, fuse with powerful
doses of Danny's hip-hop and R&B infused 174BPM productions. 'Atomic Funk' is undoubtedly Mr Byrd's finest work to date and includes one of the biggest future D+B anthems 'Holy Star' that's brought to life with vocal delights from MC Foxy.

'Just A Step Away' (ft. Ownglow) has become a silver bullet for the Byrd, taking a spotlight in his DJ sets as his finishing move. With its gorgeous vocals, volatile rave synths and humming sub-bass, it's not hard to see why. However, that's
far from the only weapon in this legend's locker. 'Roll The Drums' is a certified sub shaker bringing a fierce bassline and thundering percussion, plus there's raw jungle madness with 'In The Meantime' (ft. Hannah Symons). With fifteen incredible tracks from Hospital Records' longest standing signing, 'Atomic Funk'
is Danny Byrd at his best. Crafted for the dancefloor and Feel-good from start to finish, a must-have for a true Hospital fan.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

The first in a series of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's.
Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is! Black Moon's 'Who Got The Props' needs no introduction, it's place in hip-hop history is fully solidified. The combination of vintage Beatminerz SP1200 beats paired with the legendary MC's Buckshot and the 5 Ft. Accelerator's streetwise NYC raps is a heady mixture indeed. Often speaking of street life in New York in the 1990's, Black Moon gained cult status via their 1993 debut LP 'Enta Da Stage', one of the most celebrated hip-hop debut albums of all time. The Beatminerz production changed the game, their deep knowledge and understanding of samples, records and digging in the crates gave their sound a real style and edge. 'Who Got Da Props' is the perfect example of this, one of those timeless rap records that appeals to the hardcore and can ignite the party. Truly essential. Every home should have one (or 2!).
Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

Silicone Soul welcome the return of old friend Justin Robertson as he brings his much- loved Deadstock 33s project back to Darkroom Dubs. Last spotted on the label only a matter of weeks ago with 'Infinite Interchange' on the 'Darkroom Dubs Presents Summer Love' collection, here he builds on the momentum with two more singular missions deep into the timeless analogue abyss. What's more, they come covered with a print of one of Justin's very own hand-drawn pieces. 'Dr. Spectro On The Frontier' marks the start of this new Deadstock trip. Celebrating the lesser spotted DC super villain who could control people's emotions with a brazen line or two of sinewy acid; what starts off dark and gnarly gradually unfolds into a much more emotional narrative. Watch out for the harmonic riff that rekindles feels of raving fields and a salvo of chords towards the climax that genuinely will control your emotions.'The Music Is Madness (To Those Who Cannot Hear It)', meanwhile, is more than just a poetic title. Already a summer anthem at A Love From Outer Space, it's a roomy, cosmic affair that's laced with layers of trippy textures and chugs at a cool 120. It's one of Justin's classic signature smouldering sessions; what ostensibly seems forlorn and introspective is actually coded with deep hope and positivity. You'd be mad not to hear it.You'd be mad not to stay tuned too... For the first time in Darkroom Dubs history, this release and all this year's vinyl dispatches will be released digitally as part of an end of year compilation, 'Tales From Underground Vol. 1' and will also feature an exclusive Silicone Soul remix of Rigopolar & Cannibal Ink's 'Thousand Years Before'. And to round the year off The long-awaited new single from Silicone Soul themselves.

Fresh from 1986, all time Garage-House-Afro crossover classic... Absolutely timeless House anthem!

Need we say more "Ma Foom Bey" is one of THOSE records, totally flawless, big in the dance everytime.

Stripped back drum machines, that cavernous, instantly recognizable bass-line & those chants, killing sound-systems stone dead!

As we said before, dropped on Easy Street in '86, edited by the legendary Tony Humphries & subsequently caned by 3 generations of DJ's across the galaxy ever since. Every home should have a copy of this, no collection is complete without it. A record that will never go out of style & will always provoke some buckwild reactions on any dance-floor it's dropped on!

Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

Original in-demand back to back roots anthems at last receive official Greensleeves 12' single repress. Classic golden age coupling showcasing two of Johnny Clarke's finest performances both delivered with rock-stone back up from The Revolutionaries. Two heavyweight sound-system favorites cut loud and proud and housed in the classic Greensleeves 12' bag.

Butterflies is a 12' EP compilation (1983-2016) by the Amsterdam based label Top Tape (founded 1986). On this release of 500 copies on yellow vinyl you find old and new work, old and young artists, like the talented Parrish Smith. There is also a great Restauration by Dunkeltier. The album has been remastered with care by Rude 66.

Already played by:
Craig Richards
Seth Troxler
RPR - Soundsystem

Mennie and Julien Sandre team up under their Jarau alias for an impressive EP on One Records. Dubnova features two originals that span hypnotic synths, warm, sonic basslines and intricate spacey layers. For the remix, musical craftsmen DeWalta and Voigtmann join forces for the first time since their monumental Ground Effect EP on Jan Kruger's Hello Repeat in 2014. Here they showcase the more techno side to their production skills.

Friends and colleagues, Mennie and Julien, began the Jarau project in 2017 to experiment and push creative boundaries. 2018 saw the release of their Interstellar EP on respected vinyl imprint Pleasure Zone, which will be followed by this heavy-weight offering on One Records. Tenax resident Mennie was named by DJ Mag as one of the most prominent emerging Italian producers. Born in France and now based in Italy, Julien runs the acclaimed Blind Box vinyl only label, which he started in 2015.

Meander boss DeWalta a.k.a David Koch is one of the most admired artists in the industry, not only a talent behind the decks he delivers a remarkable live set and has released a wealth of music on key underground labels. Claus Voigtmann was originally born in Germany but bases himself in London, where he co-founded the underground and conceptual party, Toi.Toi.Musik. This year sees the release of his eagerly anticipated album and a focus on his Subsequent imprint, also playing regularly alongside Adam Shelton and Subb-an for their One Records showcases.