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Got dust? Krash Slaughta has. In fact, for him, Everything’s Turning Up Dusty right about now. Surely this can’t be his brand-new double-vinyl LP journey into sound which finally realises an ambition to create a cut n paste opus held since his pre-turntable days of pause-button mixes? It certainly can! The project comes in four parts corresponding to four sides of 12″ vinyl which weigh in at approximately fifteen minutes each and each side of which took around a month to make!

Man, that is epic! When did he ever get the time and concentration to put such a beast together? Wait – are we talking about yet another Krash Slaughta lockdown project? We are! And this bad boy stitches together vintage vocal loops, rare breaks, library records and obscure samples along with remixes of Stetsasonic, O.C., Tanya Winley, Jurassic 5, Edan, Nas, ODB, Gang Starr, Super Lover Cee & Casanova Rud (any one of which would be straight fire on 7″or 12″) along with pretty much whatever the hell else he wanted to put on there. Pressed at 45 rpm, this one features two differently-coloured slabs of wax: one mauve and one blue while even the centre labels and cover art get in on the cut n paste vibe having been created by hand by Krash homie Saleem Andrew McGroarty. As with previous such efforts from the KS camp, there will be no re-press! Sleep at your peril.

E-Talking crashes onto Love On The Rocks with a 4-track EP that’s weirder, faster and harder than anything Paramida’s ever-evolving imprint has put out to date; pushing the label into new territory that’s simultaneously unexpected and unmistakably true-to-form.

The Berlin-via London-based French producer, one half of the duo & collective Nummer, released his studio debut on AD93 in 2018 and his first album on Going Good in 2021, with productions that are dense, intricate and intoxicating, overflowing with ideas and effortless finesse, qualities all on display on this EP in otherworldly abundance.

The ‘Cosmic Egg’ refers to our modern understanding of the universe as ever-expanding; extrapolated backwards in time, it implies a finite starting-time and a small starting-place, from which the entire cosmos metaphorically hatched.

‘Pads & Frogs’ finds E-Talking in the midst of this process; slowly awakening to find himself up to his eyeballs in a shimmering psychedelic rainforest, awash with swirling pads, lush percussion, tripped-out inter-species vocals and tribal rhythms, building and looping into each other in a joyous dance of life-giving. A cosmic field recording from the incubation of this special egg, recorded somewhere between whatever passes for a rainforest in Berlin and deep, infinite space, sat upon lovingly and diligently by Paramida and Alex while in the process of developing a close friendship with its birth-mother – the three of them keeping it collectively warm and preparing to hatch since early lockdown days.

The time, motherfuckers, is now. After a warm, fuzzy beginning, of course, comes a huge, shattering explosion: ‘Rise Up’ is the EP’s first big leap into new territory, turning up the pace considerably and wasting no time in serving up some seriously pounding cosmic techno, LOTR-style, with some unexpected twists and turns halfway through. It’s all in the switches and details here, and they are so good you will want to literally get naked and lick your speakers for momentary sonic relief.

Unfortunately for you, ‘Life Begins Now’ doesn’t let up, proceeding with the same intensity but a more house sensibility, with layers of percussion and grooves building off each other into a drop which could easily carry the track, but is really just a tease for another twist that sends this one off fully into intricate, exquisite orbit. ‘Neidan’ brings us slowly back to Earth for another slamming house workout with all the hallmarks of a future LOTR classic: sun on the horizon, cosmic energy to infinity, all your friends together on the dance floor. It doesn’t get better than this.

Previously, the universe was thought of as eternally old, with no start and no growth. Boring. This EP exemplifies just how wrong that is: an adrenaline-fuelled salute to the constant creative expansion of the universe, and all the weird beings who inhabit it.

Jaga Jazzists legendäres zweites Album, „The Stix“, kombiniert die digitale Dancefloor-Affinität ihres Debüts mit der Ausgelassenheit, Wärme und dem Fluss ihrer Live-Shows. Mit ihren stilvollen Produktionen, ihrer mitreißenden Bühnenpräsenz und ihren internationalen Einflüssen, die aus Hoxton über Oslo bis nach Berlin reichen, wurden sie schnell zu einer der beliebtesten Bands des erweiterten Jazz-Genres.

Im Jahr seit ihrem Debüt haben Jaga Jazzist weltweit einen großen Eindruck hinterlassen, insbesondere aber im vereinigten Königreich: die Debütsingle, „Going Down“, wurde damals vom NME zur 12“ der Woche gekürt, wurde u.a. vom jungen Gilles Peterson angepriesen und war eine von Muziks Singles des Jahres - und war folglich sofort ausverkauft. Und nun aber endlich wieder auf Vinyl erhältlich, en detail auf - wie bei Ninja Tune-Releases der Umwelt zuliebe seit einigen Jahren üblich - nicht auf 180 g sondern auf 140 g schwerem und rot-orange schimmernden Vinyl in einem 2LP-Gehäuse mit bedruckten Papp-Innenhüllen und einer 12" Reverseboard-Gatefold-Hülle.

Celebrating two decades of IF Music's scrupulous curation through its record shop, a thriving website, album reissues and compilations in collaboration with BBE Music, parties and radio shows, “IF Music Presents You Need This: 20 years” is a 9 track, double vinyl LP beautifully put together by Jean-Claude. Coming, as it does, as the 9th release in the “You Need This” series of compilations curated by Jean-Claude, this album features music that ranges from 1980 (Christine Schaller's spectacular “Fidji”) to exclusive tracks from the likes of Emanative & Liz Elensky (‘Fall Into Me’) and Tenderlonious (‘Dennison Point’) which both bring us up to the present day. It is Jean-Claude's remarkable ear for music that, as with all the previous “You Need This” releases, creates a wonderfully coherent journey through the decades across the four sides of this masterpiece of a compilation album. As mentioned earlier “You Need This: 20 Years” will be released as a double LP pressed on 180 gramme heavy vinyl, cut at 45rpm and on digital. Whether this starts, adds or completes your collection of Jean-Claude's “You Need This” series of compilations, “20 Years” is a must-have and indeed, you really do need this!

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal.

1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day.

Since then, several artists have grasped that difficult topic, screaming for recognition and reparation.

Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987.

At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career.

Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded.

Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years.

In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

Reissue of the 2011 album Tao of the Dead by American alternative rock band ...And You Will Know Us By The Trail Of The Dead. First time available on vinyl since its release year. Features a replica of the original comic book insert. Tao of the Dead is their seventh album. The band stripped down to its core four-piece lineup for the record, deviating from the past two records that featured a filled-out six-piece band. This resulted in a stripped-down record with heavy emphasis on guitar. It’s a two-part record, each side with a specific musical tuning; Part One in D and Part Two in F. The album can be listened to as 16 different movements or two lengthy tracks. Part One: Tao Of The Dead is split into eleven tracks, whereas Part Two: Strange News From Another Planet is five songs combined into one. Lead singer Conrad Keely described the album's composition; "It's the way I listened to albums when I was a kid, seeing as some of my favorite records were Pink Floyd's Dark Side of the Moon, Yes' Relayer and Close to the Edge... I always liked listening to records that were just a continuous piece, like an orchestra or a symphony."

After our debut vinyl release “Cosmic Vibrations” with Rush City x Handerk we are ready to present our second vinyl release. This time one of our label founders Jonathan Lopez A.K.A Jonahlo wants to take you in a psychedelic journey on his new EP “ACID DAYS”; a four track EP where each track gets you through a different state of mind.

Jonahlo is an amazing musician, jazz bass player and producer from Bogotá, Colombia. He has released music on labels such as Nomada Records, Night Young and Otayana Records.

This trip starts with “Acid Days”; a superb Deep House anthem with layers of evolving sounds, exquisite melodies and uplifting chord progressions that make us take off and start feeling 100% positive. You can hear samples from cinema describing how it feels when you start connecting and being one with nature.

The following track is “Particles”; on this track Jonahlo goes deeper, evoking hypnotic and far-sighted moods of melancholy. At this point we start pondering about the universe’s infinite dimension and imagining particles vibrating as we fall into our deepest thoughts.

On the flip- side we bump into “Lost Mind”, a percussive deep techno with spacey and bleepy sounds reminding us that 90’s uk old-school style. Now is the time to get lost in the moment after going through the trip’s hard peak where you really start letting go.

The release closes with “It’s Alright”; a good vibe deep sampled house track that tell us to take it easy, to just relax and appreciate life.

The Album cover was disigned by incredible Colombian artist Jose Mejía which represents a flower going through the process of questioning oneself and coming out transformed on the other side. It is a process of exploration, discovery, and rebirth.

Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music. Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step. Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born. “When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of like-minded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.” Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of off-the-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days. There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right.

Released in 1965, this is Gladys Knight and The Pips’ first and only studio album for Maxx Records. Gladys and this family foursome signed with Larry Maxwell’s label in 1964, and after several successful singles, Maxwell was responsible for taking the group to Motown. Pressed here for the first time in almost six decades, 12 soul sides full of grace and grit, remastered and reissued on heavyweight virgin vinyl.

The recordings that springboarded Gladys Knight and the Pips to Motown Records. First ever reissue since the original Maxx LP in 1965 (six decades later!) Pressed on black virgin vinyl, with original artwork. Beautiful soul recordings - remastered for superior quality.

Multi-platinum award winning and GRAMMY nominated artist YUNG BLEU is coming off of his smash radio single, “Love In The Way” with Nicki Minaj,” as well as the follow-up street record, “Life Worth Living” with French Montana to deliver us his 2nd studio album, “TANTRA.” YUNG BLEU has amassed over 2 billion streams across all platforms.

Winner of Best New R&B Artist award at the iHeart Music Awards 2022. His debut album, “Moon Boy” album has been certified RIAA Gold. “TANTRA” is a special album where we see different shades of the artist and which showcases his versatility as a songwriter, producer, and vocalist. The album encompasses who he is as a fully versed and well rounded artist.

Always exciting when Klasse Wrecks comes with a new label project!! This one they do together with Kid Who and is a series of records showcasing previously unreleased house, techno, acid and more from the 90s Amiga Demoscene.

Created using early sample sequencers such as ProTracker, these tracks radiate the authentic energy of techno's golden era - and they've been hiding in plain sight in Demoscene web repositories for many years. It was during the long days of the 2020 lockdowns that Kid Who began to explore these archives, sifting through thousands of tracks to eventually amass a collection of several hundred of his favourites.

Curated by Klasse Wrecks and Kid Who in close collaboration with the talented artists behind them, the .NFO project aims to bring some of these finds to the broader dance music community via a series of VA 12"s and mixes. Tip!! Vinyl comes with A4 insert and stickered sleeve.

A new artist on the Citizen Records / Clivage Music roster, Vhinz is a musician based in Brussels. After taking his time to break onto the electronic scene, he’s now ready to share Belvédère, his debut, dreamlike album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds.

Vincent Honca is Belgian, with Armenian roots and a love of keyboards: the mini synth he used to play as a child, the classical piano of his years of training at the Académie de Musique, the Yamaha synth of his teenage years... During the noughties of his adolescence, electronic music was omnipresent in his life as he listened to and admired Daft Punk, Moby, Vitalic, Air and The Chemical Brothers. He also went out dancing, a lot, in the nightclubs and parties of Brussels and the vicinity, and soon his love of computers, technology and synthesisers led to him producing his own music. “I wanted to create beautiful textures with synths,” he says. “I wanted to have fun and discover the possibilities. As part of the internet generation, I taught myself everything I know through reading magazines and checking the forums.”

Vincent went on to become a computer programmer and decided to make music in as much of his spare time as possible. His first productions came out in 2015, including “Drastical”, one of three deep house dancefloor-orientated tracks recorded with none other than Kris Menace. “At the time I was really searching for my musical identity,” explains Vincent, and progressively his music started to lean towards another of his passions – films and film music. “I’ve listened to soundtracks a lot since I was a teenager, and they’ve been a big influence, in particular the music for Heat by Elliot Goldenthal, Gladiator (Hans Zimmer), Saving Private Ryan (John Williams), The Last Temptation of Christ (Peter Gabriel), The Virgin Suicides (Air) and Leon (Eric Serra).” Coincidentally, Vincent has already worked on two independent Belgian films by director Christophe Karabache, UltravoKal and Vortex, both collaborations with Michel Duprez.

Now Vincent has chosen the name Vhinz, bringing together his expertise with machines and computers, his passion and enthusiasm for the electronic sounds of his adolescence and his adoration of cinema’s powerful, impactful soundtracks. Vhinz’s first track is thus called “Aether”, a track brimming with character and confidence, with sung-spoken vocals that sweeps the listener up in bewitching synthetic themes and drums like an off- kilter heartbeat. The track perfectly encapsulates the Vhinz sound, and Citizen Records – the only label he sent it to – immediately loved it and were ready to release a 12” with more. “Then Covid and the lockdown happened, and everything came to a complete halt,” remembers Vhinz. During those long two years without anything being released, the project continued its gestation and has now grown in a mini-album of eight coherent, fascinating tracks. “I really wanted a strong concept for everything, and so was born this album that I’ve called Belvédère. I imagined myself on a belvedere with a panoramic view of the world, channelling all the emotions it elicited in me into music.”

Belvédère is a dreamlike debut album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds. It’s a place for Vhinz to showcase his dreams, talk, sing and invite others too: Margot Ferro sings on “Le Passage” and “Envole-moi”, and Michael Meers lends his vocals to “Evolution”. “My album tells a story, with the tracks in chronological order. There are both times of hope and darker periods of my life, with sadness and love,” meaning that listeners are invited to experience a suite of different emotions and be swept along by the author’s musical daydreams. Musically, the album falls somewhere between Moby, Vitalic, Air and Serge Gainsbourg, with a density and atmosphere that are completely Vhinz. “With Belvédère I was looking for beauty, but also something darker, dirtier, more organic. The album is the culmination of that.”

Names You Can Trust continues its years-long revival work with one of Panama's most gifted and legendary soul artists, Ralph Weeks, returning the singer to the studio for another brand new recording that highlights the now 80-year old's still silky vocals and masterful songwriting. Up for the challenge with their own studio savoir-faire is a most fitting and genuine purveyor of modern day soul themselves, Ben Pirani and The Means of Production, whose output on Palmetto Street Recording and Colemine Records has already achieved high praise and collectible status in just a few years. The mission, record two unreleased home studio demos that were penned and tracked in the early 1980's and recently excavated from Ralph's extensive archive of personal songs. These original compositions were faithfully given the full treatment and arrangement they never received, but always deserved. The A-Side, "Nobody Loves Me (Like You Do)", a quintessential Ralph testimonial of love, now shines alive and...

Manda Moor steps out on Mood Child for the first time as the label co-founder links with mysterious talent Trangaz for four fresh productions on their collaborative ‘Peligro’ EP.

Ever since dropping her debut release in 2020, Danish-Filipino talent Manda Moor has been on an impressive upwards curve and one that doesn’t seem to be slowing anytime soon.

Having dropped back-to-back releases on Jamie Jones and Lee Foss’ iconic Hot Creations imprint, the hotly-tipped DJ/producer and label founder heads to her Mood Child label for the first time. Founded and created alongside Sirus Hood, the label serves as an artistic platform, a community-focused label, and an events series that delivers quality music via digital and physical formats, plus NFTs, unique experiences, and more. An ‘invitation to a journey that blends feelings, emotions and desires’, with takeovers at Hï Ibiza, Café Mambo, Lovefest, Fabrik and more, the first release saw Sirus partner with fellow Frenchman Malikk, and now the second arrives in perfect time for the peak summer months as Manda combines with Boogeyman and Pakate signee Trangaz.

New York City born-and-raised, he draws lines between primitive and futuristic sounds and rhythms influenced by world travel and different cultures, and the two reunite for their four-track ‘Peligro’ EP.

Crafted together in Ibiza, the EP showcases sonics capturing the island’s unique magic. Lead cut ‘El Peligro (Ibiza Mix)’ is a production made after a special day at the coves and hidden treasures of Atlantis, under full moonlight near Talamanca, with the rolling organic drums grooves, playful vocal murmurs and vibrant melodies journeying deep into the night.

Next, ‘Tagalog’ keeps the energy bubbling with another percussive workout sprinkled with vocal interjections and spoken words in the native Filipino language it is named after, while B1 ‘Chatita’ is a slinking production as wonky stabs meet and snaking low-end grooves. Closing the EP, the pair deliver the most stripped-back track with ‘Buena Vibra’ as a killer groove guides vocal chants to wrap things up in fine fashion.

Manda Moor & Trangaz ‘Peligro’ EP drops via Mood Child in July 2023.

Bobby's 2019 tour ended in New York City and he had two days off before flying home to Finland. Leon invited him to the Diamond Mine to record some music. Bobby had been talking about wanting to stretch out lyrically and write about more esoteric subject matter, Leon was game. They recorded "Reasons" in one session which put the chemistry between the two on the world stage and sparked the idea of doing a full length album together. More than halfway through the recording process, they have decided to treat us to another two-sider of the new material. On the A side, "Whatcha Know" Bobby explores death and the human experience, putting his philosophical ponderings into his music. Michels' production and overall ethos is the perfect compliment to Bobby's desire to stretch out his sound. EMA provides a gorgeous backing track that compliments Bobby's style and simultaneously broadens its scope. The B side "Losing It" is a dramatic and moving number that Bobby sings in Spanish and English. A gorgeous guitar riff is countered with eerie sound effects that crescendo when the drums come in. Bobby professes he's "Losing It" over a love too strong and El Michels Affair's production turns the whole affair into a saga that thunders through speakers.

Welcome to Soul4Real’s second album, a collection of originally unreleased tracks which feature a whole host of soul royalty.

First off are two songs from the inimitable Bobby Bland, both of which hail from his prolific period at Duke Records.

Sandwiched between two stunning Chicago recordings by Etta James is the later “I Never Meant To Love Him”, taken from a Philly session she recorded with Bobby Martin.

Fontella Bass brings this side to a close with a mysterious Chicago recording of which, to this day, hardly anything is known.

Side two transports us to Detroit, when Motown was at the peak of its output. 1966 was not a good year to secure the approval of quality control, as proven in the rejection of this wonderful Velvelettes´ version of “Your Heart Belongs To Me”.

It was in that same year that Ashford and Simpson arrived at Hitsville as both singers and songwriters. Their “Love Woke Me Up This Morning” was recorded by Brenda Holloway and produced by Norman Whitfield. Despite being overlooked at the time, its appeal was undeniable, and it later resurfaced on albums by Marvin & Tammi, Valerie Simpson, and the Temptations.

As an integral member of the Motown family for over 14 years, it is surprising that to date only three songs recorded by Johnny Bristol have surfaced. In collaboration with ‘Mickey’ Stevenson “Tell Me How To Forget A True Love” was completed in May 1964.

“One Lucky Day I Found You” was inexplicably not included in the ‘David’ project. Ruffin´s later work with Van McCoy is also featured on this album.

From almost the start of his career, Marvin Gaye had endeavored to project himself as a great balladeer, and nothing could illustrate this better than his rendition of “I Wish I Didn’t Love You So”, which brings this chapter to a perfect end.

Myriad - By definition the labels premise and priority is to showcase a wildly heterogenous variety of sounds, developing a catalogue without set musical boundaries. Myriad releases can span across all sonic terrains – groove to formlessness, night to day, dance tracks to introspective ambient, and countlessly so on.

We proudly present our first release with artists Lose Endz, V.I.C.A.R.I., Stoi and LoLo. Four different moods, covering every point in time

We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.

There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.

Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.

All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.

Once again a work by Patrick Campbell-Lyons without Alex Spyropoulos, this time Songs Of Love And Praise showed a return to a more classic Nirvana sound. Campbell-Lyons revisited two of the most loved songs by the band, Pentecost Hotel from their debut LP and Rainbow Chaser from their second one. The album opens precisely with the amazing uptempo beat of Rainbow Chaser, which while sounding faithful to the original recording, it comes with a totally different approach on the arrangements. Campbell-Lyons states on the liners that he went for a step further in that field, and looked for a jazzy atmosphere. It sets the tone of the album: upbeat good vibrations songs that differ from the dark mood of the previous Local Anaesthetic LP and that besides these two songs revisited presents all new material.



Uplifted and positive, Songs Of Love And Praise gives what the title promises to take the classic Nirvana sound from their first three albums one step further with the collaboration of Bobby Harrison (Procol Harum, Snafu) Lesley Duncan, Maggie Bell and Sylvia Schuster (who had already played live with Nirvana at the time of their debut album).

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Groundbreaking release from the early 80's produced with rather primitive synthesizers with as result "A Dog in the Night" a track with a thick sound, unusual for its time. Credited as "the sound of the future" in those days and sounding reevant today. The piece produced by Stefano Zito and arranged by Stefano Galante is after 40 years among the favorites of collectors and followers of Italo-Disco, being noted among the songs to be re-edited by Danilo Braca, the New York based Italian Dj known for his creativity! He manages to create wonderful reconstructions, often considered "works of art". Such as the version he remixed and revisited, with the strings played and recorded by Layer Bows, but above all with the additional lyrics written and performed by the superlative SuperJaimie (aka Charlotte Balibar); with her voice she gives a completely different air to this Italo-Disco jewel, now worthy of being brought to the attention of the new generations. Such a gem, made available again on high quality vinyl!

Acclaimed Stirling-based group Constant Follower, led by Stephen McAll, and renowned folk guitarist Scott William Urquhart have today announced their forthcoming collaborative album, ‘Even Days Dissolve’, which will be released on 14 April 2023.

The album follows on from Constant Follower’s lauded debut long-player ‘Neither Is, Nor Ever Was’, which was released in 2021 and nominated for the 2022 Scottish Album of the Year (SAY) Award.

‘Even Days Dissolve’ is an enchanting, deeply absorbing, and meditative album, the product of a musical affinity between two thoughtful and uniquely talented Scottish songwriters and musicians.

The songs that make up ‘‘Even Days Dissolve’ were inspired by ‘the grand old man of Scottish poetry’, Norman MacCaig (1910-1996), whose work is characterised by its gentle humour, precise observation and love for the natural world, which forms another key theme for the album.

MacCaig’s poetry holds great significance to McAll, as it formed a major source of comfort and support to him during a long period of recovery following a violent and unprovoked attack that left him with catastrophic head injuries, partially paralysed and unable to write or play guitar.

‘Even Days Dissolve’ is McAll’s nod of respect to McCaig, and the great man’s unmistakable words and inimitable voice feature on two of the tracks - single ‘Wildlife Cameraman’, and ‘Comes A Silence (Basking Shark)’ – sensitively set over the backdrop of beautiful and exquisitely crafted songs.

Scott William Urquhart’s masterful acoustic guitar playing is a stunning centrepiece of the album, imbuing the songs with a moving sense of atmosphere, and sounding at once both elegant and robust. Urquhart’s unassuming yet compelling vocals also feature throughout ‘Even Days Dissolve’.

Speaking about ‘‘Even Days Dissolve’, Stephen McAll said: “The magic in music for me is all about collaboration. Finding people who inspire me to make better music, then working with them and creating something between us that’s better than what either of us could have made alone. It’s been an honour to work so closely with Scott William Urquhart on this album. He’s someone whom I’ve admired for some time - unquestionably up there with the best acoustic guitarists at the moment in Scotland, and such a beautiful writer of songs.

“Bringing two of these songs together with the voice of our beloved Norman MacCaig has been a real highlight of this project. His poetry was introduced to me by my high school teacher Mrs Tatarkowski, and it was the first prose I was able to read and understand when I was recovering from a traumatic head injury. So his work holds a deep space in my heart. I don’t think any poet or songwriter has matched his ability to capture the space and wonder of the natural beauty of Scotland.”

This debut album is the work of London based producer, sound artist and composer, Paul Cousins. Paul works with meticulously maintained reel to reel tape machines to transform and alter his electronic compositions. His prepared tape loops form the basis of ‘Vanishing Artefacts’ 12 intricate compositions. The original ideas processed through 1/4” tape become a hazy facsimile of their former state as tape is manipulated and effected to mould something new.

“There is great freedom in limitations. The sonic limitations of tape, at least in the lo-fi way I use it, are also a factor. Being able to physically touch and manipulate the sound is a very important and visceral part of this. Opposed to a lot of ambient music I have written, I want this music to be tactile, and very tangible. Yes, it can float away, but I also want to show the string tied to the balloon. For this reason many of the tracks contain the sound of the room, and the wonderful noises these machines make."

Welcome back to sublabel Trix Trax, our series dedicated to sharing the Techno side of things.

After a little hiatus Trix Trax is back with a stacked four track VA, Technotations Vol. 1. Blending techno, IDM and breaks this releases showcases some of the many styles and energies the genre has to offer.

Starting off the VA, we have the track ‘Losing’ from Japanese producer MAGPOST. This loopy, hypnotic groover will add a layer of intrigue and mystery to your deep and moody sets!

Next up we have ‘Rise’ from JD Typo who’s debut EP, started off the Trix Trax series. This speedy techno cut will cause mayhem on the dance floors, nourishing souls in its wake with ethereal lush pads and vocal chops that creep in as the track progresses!

On the flip side we have a sobering track from Ukrainian producer Taras Vinnichenko called 24.02.22. Created the day Russia invaded Ukraine, t’s an auditory diary of Taras’ reaction to the unfolding of events. The crunch of the bass and breaks audate the panic and disarray on the ground.

Closing off the EP we have a unique groover from US producer Mr. Projectile who recently released an album on Wex sub label, La Luna. This crunchy and jittery cut takes you on a bass heavy, boom-filled journey of speedy techno and IDM!

On the sleeve, Sonia Malpeso delivers another whacky custom design on the front sleeve as well as a beautiful typographic showcase on the back and inner sleeve!

Contagion Vapors was recorded between May 2020 and March 2021, in tandem with 'Transgressive Transmissions'. Both albums have been released by Castles in Space, however they feature completely different sonic energies.

Caught up in the first wave of pandemic doom/gloom which resulted in a bizarre creative bloom for Patrick, both albums have unique sounds anchored in the immense Patrick R Pärk/Kösmonaut discographies. This one is definitely a Kösmonaut record, however.

Patrick’s Contagion Vapors is a vaporwave sonic adventure which
soothes the worn soul like an icy balm with its motorik repetitions and sonic patterns and swirls.

Uncharacteristically upbeat and always positive, the album was a personal exercise in not becoming consumed by COVID isolation and misery. Major influences were Patrick Cowley, Cybotron, Automat, Cluster, and Harmonia and the entire album was recorded / mixed in the midnight witching hours over the course of only 2-3 days.

Ever prolific, Patrick is currently deep diving hard into post Y2K New Age conjurations with his massive Galactic Mirage project which should see another CD box set later this year. There's also some forthcoming Teeth Of Glass vinyl coming from Library Of the Occult later this year and plenty of Patrick’s self released "chrome sonic babies" in between.

Tai Chi Tommy steps out of the crypt to deliver his sultry crooner tones in a collection of Halloween themed doo-wop and garage psych songs live from the Sad Souls Social Club. drawing from the likes of Roy Orbison and The Platters, mixing lush and pleasing melodies with voodoo lure and a 50’s twang.

Love songs for Zombies, Vampires, freaks, geeks and the Strange & Unusual.

Sampled by Jay-Z and Dr Dre, Italian band Calibro 35 announces the release of the new album NOUVELLES AVENTURES. The album will be available abroad on limited edition Crystal Clear vinyl next June 30th via Record Kicks.

Italian cult cinematic combo Calibro 35 are back with their new studio album NOUVELLES AVENTURES. The new album will be available abroad on a limited edition Crystal Clear Gatefold LP on June 30th, distributed worldwide via Record Kicks. The crystal clear vinyl edition is a Record Kicks exclusive and is limited to 1000 copies, which makes it an instant collector's item.

After last year's Scacco Al Maestro, the 2 tribute-albums dedicated to "il maestro" Ennio Morricone, followed by the "Calibro 35 plays Morricone" tour and the releasing of the ost of TV drama series Blanca, Calibro 35 are back with NOUVELLES AVENTURES, a new studio album of original material. NOUVELLES AVENTURES was recorded in Naples at Auditorium Novecento, the former Phonotype Records, one of the most legendary and fascinating Italian recording studios. The new LP sees the group making full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

"After a couple of intense and stimulating years playing Morricone and writing music for the TV drama Blanca", Calibro 35 said, "we had a great desire to make new inspired music. To do so, we left home and we shut ourselves up in the splendid space-time capsule that is the Auditorium Novecento studio. The result is a series of musical voyages in which we concentrated all our artistic and human experiences. As in Verne's imaginary and extraordinary journeys, we explored distant places where we had never been before. We then happened to return to more familiar shores and discover them with new eyes without realizing it. We borrowed the title NOUVELLES AVENTURES from György Ligeti, precisely because after fifteen years of building ourselves, we are ready for new adventures".

NOUVELLES AVENTURES was anticipated by the first extract "EXTRAORDINAIRE", an almost 6-minute song that once again confirms the band's aptitude for the exploration of unpredictable sound territories: a music that, on one hand sounds liquid and abstract, while on the other, it cuts through the psychedelic mists, with a complex architecture.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others: PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré.

Sonic chaotic, tender terror. On New Stone, Lithuanian producer Kamile Rimkute a.k.a. Caline with C dazes and uplifts us with her reflective post-modern electronics. This album is a personal long-term project in the making, one of auditive self-expression, treading across themes such as adventure, love, discovery and grounding.

The album is driven by Kamile's interest in futuristic boundary-crossing music and intersectional feminism, as well as her studies in Sonology. With an advanced skill for composition, sound synthesis and her knowledge on the totality of sound, she claimed the means of production, as New Stone is all produced, mixed and mastered by herself.

New Stone was recorded in a period of two years that started in 2020 and incorporates highlights of her landmark livesets ever since. New Stone is full of concocted emotion that sustains and releases through her trademark of stark contrasts - triplet-driven, jolted yet angelic atmospheres - resulting in a tangible, body-driven sound.

Interweaving her vocals near the final salvo, this album marks the end of a creative cycle and start of a next, allowing her personal touch to seep through her art more and more. Embarking from home ground, stepping on a new stone.

Returning to Lisbon’s Light Channel Recordings, DJ Silver mines the rich seam of techno’s late-century flourishing into diverse forms – from stern 4/4 to reflective electro to gorgeous, cinematic ambient. ‘P World’ takes (and merits) the whole A-side: what starts as an unadorned piano solo unfurls into a mélange of sunburnt synth washes and hazy arpeggios, as if Detroit Escalator Co. went to the beach for a day. On the B, ‘Cell’ takes us on a nostalgic flight through Incunabula-era electro, here with a remarkable melodic lead line, while ‘Future Domination’ sheds the introspection and drops us straight into the ritual pressure of a packed techno floor. It’s a timely reminder that, even during a time of confinement, music can transport us to far-flung places.

8 years almost to the day after releasing his unique re-interpretation album of his field recordings made in the late 90's in Tanzania, Kink Gong is back with another volume of bushmen madness. Here’s what Kink Gong aka Laurent Jean-neau has to say about his end of millennium trip:

‘’My experience in Tanzania is now over 20 years and most of the so called remix was started in Tanzania and left un-finished, then eventually retouched in Vienna, Paris, Shanghai, Kunming, Dali or Vientiane. 20 years later I searched my Tanzanian files and rediscovered unfinished tracks which are being now refreshed on this new record.

Back to the early days of the XXI century, when I lost my health trying to survive with the HADZAs, the last bushmen in northern Tanzania. In 1999 James Stephenson from NYC invited me to join his Hadzas friends. I would leave the bush to rest in a place with enough food and electricity and start to edit, loop and work on the original recordings, to trans-form them into organic abstract compositions, the only instrument I had recorded a lot with the Hadzas was the malimba and I bought different malimbas in Arusha to take back with me to Europe, I used either the original record-ings or me playing malimbas on some tracks and applied some electronic treatment to it, at that time I used Roland synths for some tracks.

The original recordings are related to scenes at night by the fire with the Hadzas, but also 3 different types of celebra-tions, Epeme Men was recorded on a moonless night with men and women singing and dancing in complete dark-ness in Mangola, an Hadza camp. Irawk Drum Under the Rain was recorded during daytime at a Multi ethnic gathering at the Franciscan Spanish catholic mission with a crowd dancing and singing under heavy rain while an IRAWK large (and wet) drum was being played, Northern Tanzania. Makonde Island was recorded in southern Tanzania at the boarder with Mozambique and is a pure scene of trance taking place on an island where the MAKONDE fishermen off the coast of Mtwara, get wild, hitting plastic containers for the sound, drunk and stoned men and women are hysterical-ly jumping and falling on each other, ending up with a few wounded.
Once again I'm responsible for this act of multicultural sabotage, but don’t forget that you can always listen to the origi-nal recordings on the Kink Gong recs collection. ‘’
Laurent Jeanneau, Berlin 2023

Easy Star All-Stars return with their first new tribute album in over a
decade! This is the first single from the upcoming April 2023 release of ZIGGY STARDUB, a reggae re-imagining of David Bowie's entire The Rise and Fall of Ziggy Stardust and the Spiders from Mars album
his first single features the legendary Maxi Priest on vocals. As usual, the All stars bring an unparalleled attention to detail and creativity to their version of this timeless Bowie classic.

Jestofunk's acclaimed Long Player “Love in a Black Dimension” hit the international charts and stayed on top for months. The tracklist is a sublime example of the creativity of those times, none of the songs ever saw the light of the day on a glorious single and here’s where we come into the equation with our signature 7”/33rpm solid wax nuggets.

It's been a while since we last had an all-Polish collaboration as part of a single release, but here we are! And what a collab it is! We're bringing to you two of our long-time favourites - Mateusz Dudzinski aka SNIK and Piotr Kalinski aka Hatti Vatti. The occasion? Well, we don't want to spoil too much but there some fresh stuff by SNIK on the horizon, and to shake things up a bit, we decided to release Hatti Vatti's remix of SNIK's track that will be available as part of something bigger in some time first.

The track is called "Absence", but the title is actually a lie - you'll find no absence of solid jungle vibes, riveting synth samples, dubby basslines, and classic vocal bits spread across the entire track. Think autonomic blended with modern-day jungle and you'll get the idea.

Potatoheadz Records come back, out of nowhere, with JCow’s ‘in my elem3nt7’. Often spotted cycling about town, it’s no secret that JCow is diligently & quietly (and not so quietly) crafting big tunes. This release is the sound of that inevitable 2020’s shut-in inspiration. Written during those periods, they are finally seeing the light of day. With focused time in the studio, some serious imagined musical landscapes are the result. Tracks designed for dance-floor breakouts and closed-eye catharsis. We’ve heard these tracks come a long way from inception. Cerebral and kinetic, each track has a unique character, functional yet bound to stand out in any set. Tracks like ‘a complex range of human emojis’ pay-no-mind in referencing the past with a sly smirk and an updated twist. Are we hacking? While the title track ‘in my elem3nt7’ conjures a certain mystical atmos - the tracks bold narrative shift midway is one hell of a notable payoff. Swerving boldly into new territory, the beats fade and return from new angles, sounds cutting and slicing through the speaker like angelic machine gun fire. The drum programming is truly used like a weapon in this one, with those majestic horn samples like calls from the ether. Exaels ‘swampbuggy’ reworking of title track on the B2 provides the perfect alternate universe, working its way from a sparse ambience into an inspired IDM-leaning breakbeat epilogue.

Twin Cosmos is not only the name of the musical output of fraternal twins Morihito & Yasuhito Ito, but more philosophically, an album that encapsulates, “the universe of twins”.

The pair were born 1953 in Yokkaichi, Mie Prefecture. A port city 50 kilometres west of Nagoya, famous for its chemical plants. Despite their surroundings, they grew up in an environment that fostered learning and self-expression. From an early age, they began to carve out their own paths.

Morihito was fascinated with scientific endeavours, space travel and spirituality. His father, an electrician by trade - motivated him to build his own musical equipment. This led him to attend an acoustic engineering school in Tokyo from 1972-1974, after which, Morihito returned to Yokkaichi where he worked in the instrument and audio section of a department store. This helped him keep up to date with the latest equipment, while allowing him to simultaneously work on his own musical endeavours.

Morihito’s side of the ‘Double Action’ LP is a cohesive piece, which effortlessly drifts from one song to the next through samples of flowing water and rockets launching into space ,that were recorded while visiting his brother in the States. His music is carried by flowing vocal harmonies, guitar strums, and floating synths to create an eternal dreamlike ambiance.

In contrast, Yasuhito gravitated towards philosophy and the arts and in 1976 followed his Englsih teachers’ advice and moved to the ‘foreign world’ of the United States. It’s here that he further explored his interests in Christianity, sadomasochism and poetry. He was exposed to artists like John Cage and Sun Ra, as well as a variety of ‘Do It Yourself’ recording techniques that enabled him to record remotely.

Using samples, poetry, and an original approach to traditional folk & rock songs, he recorded his side of the LP. The outcome being provocative, dark and confronting realisations, which solely used English lyrics to represent his experiences in the ‘Western world’. In 1980, Yasuhito was wooed back to Japan by his brother and the prospect of a combined record release.

The self-released album ‘Double Action’, was completed at Victor studios in Japan. Without a distribution network, the release was sold mostly to family and friends and fell into obscurity. Despite not reaching commercial success, the pair have continued to make music over the past four decades, crediting it as their driving force in life. This 2022 release includes an insert with archival images & liner notes in both English & Japanese.

“My mother” says HDSN “is my biggest idol to date. She gave me the roots to grow and the wings to fly and pretty much dedicated her life to my sister and i. She has been holding herself accountable day in day out for more than twenty years to raise two kids as a single mom. Although my dad couldn´t be there she always kept the cable long and so we lacked of nothing - she literally gave us all that she got. It´s been her strength, her humbleness and her relentless effort which has made me and my sister the beautiful human beings we are today. Most importantly it was her acknowledgement of my passion for music that saw me being able to pursue what i call my destiny today. She has been my biggest supporter since day one even she couldn’t understand at first. She oftentimes called my music too “esoteric” little did we know how many peoples hearts these songs would touch on the way. From the very beginning i wanted to dedicate a song to her but as she was pretty delicate when it comes to my tracks i knew i needed to find the right notes to hit the right spots. It´s been eight years now since i started out to make music and with very much excitement i can announce i finally been able to thrill her soul. It´s with little hesitation that i dedicated this song which i ended up calling “Stronger” to her. I come from a family full of fighters, there have been many ups and downs for all of us but we stood strong to the struggle and managed to keep our shine. This goes especially for my sister as life dealt her a couple of rough patches early on. She was fighting her own war marching through the valley of death from a very young age. She never gave up though, thrived out of darkness into light like a poppy seed and now eventually became a mother, too. Life kinda neglected us over the year. I had to leave my loved ones behind to live my dream but there has always been a part of me that tried to find his way back home, which i finally stopped denying. “No Place Like Home” is dedicated to most important women in my life, my mother, my sister and her newborn child. This record is an homage to my family and the beauty that lies within our tribe.”

We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.

It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.

The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.

Repress!

New material from the enegmatic Mr Langestraat. TIP!

"One afternoon a couple of years ago, an excited Ronald Langestraat could barely contain himself. “I’ve started dancing!” he exclaimed. “I never did it before - I’d always admired it in the past, but just wasn’t able to move like that!” But then, at the ripe old age of 81, Ronald was gripped by the urge to respond to the rhythm and express himself in this physical way.

For a man who’s dedicated his life to music, in particular Jazz with a funky Latin inflection, it feels like an especially sage realization - like the treasure at the end of a long quest, or the princess after the end-game boss. The prize is freedom, and the shapes we make on the dance floor are mirrored in that piano solo over the stanzas - a caravan that trips from smokey basement clubs all the way to Shiva’s Tandava on the edge of the universe.

The music on this album is inspired by this revelation. Although these songs were written many moons ago, their interpretation is modern, full of renewed energy, with young, yet well-worn players. While it slots neatly into the daily music practice that Ronald adheres to, it’s a new chapter in a story that is still being written - and an invitation to get in touch with your dancing self and try out some new moves."