(marble organe, black coloured vinyl) This ep contains 5 dancefloor fillers, produced by Belgians finest; Dj Ghost, Jamie Dill, Jan Vervloet, Danny Corten & Bestien. From techno to hard trance, all productions are made with an old school twist, the signature from the new label Don Ghost Records.
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Limitierte Reissue des Solo-Highlights des legendären jamaikanischen Bassisten Lloyd Banks, "Officially" (1973) mit dem gleichnamigen Single-Hit, das dank der Entdeckung der 4"-AMPEX-Bänder nun erstmals wiederaufgelegt werden konnte. Lloyd Banks war seit den Spät-1960ern Mitglied diverser Reggae-Bands (The Termites, The Revolutionaires, Invincibles, Skin Flesh & Bones, We The People Band, The Professionals), arbeitete mit Legenden wie Dennis Brown, Prince Far I, The Abyssinians, Culture, The Itals oder The Gladiators zusammen und war an Top-Hits wie "Uptown Top Ranking" (Althea & Donna) und "Here I Am Baby" (Al Brown) beteiligt.
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QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.
The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.
"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.
Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.
"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.
"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.
Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.
QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.
Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.
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DAYBREAKERS, a new London based label focusing on the deepest of deep house, from classics to rarities, dubs, hits & b sides.First up for the label is a focus on Jeffrey Collins’ Music Station label from Englewood, New Jersey. Music Station was a staple on dancefloors across the USA in the 90s. This EP selects four of the best from the label.The A Side has Mixes of Elaine Monk’s - Something For Nothing, mixes so good we had to include them both. On the Flip, the Club Dub of Cherie Lee’s 'Love Me Or Leave Me' will keep the dancefloor rolling, and then B2 is the Smack Rain Vibe Mix of Gerideau’s 'Take A Stand', a deeper than deep anthem perfect for any discerning red lit basement full of dancers.Don't miss out, buy or cry.
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"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."
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In October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black's Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title Hold That Tiger on writer/provocateur Byron Coley's impishly Geffen-baiting label Goofin' (years later the band would use this nom de guerre for their own imprint).
Hold That Tiger's sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn't a stretch to suggest that the album is to the first handful of SY releases what It's Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band's blossoming imperial phase. Indeed, HTT is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock 'n' roll's most revered live albums.
Taking nothing away from Sister – inarguably one of indie rock's first true masterpieces – it is reasonable that many fans prefer the live versions heard on Hold That Tiger to their studio counterparts. On HTT, Sonic Youth is a spiky, pummeling and confident force, alternately mammoth and meditative. Sister and its predecessor EVOL notably added an airy, dreamlike reverie to the band's turbulent doom-lurch, a stylistic evolution that seems to crystallize on HTT. Throughout, Kim Gordon's sinewy, sumptuous bass and Steve Shelley's propulsive, tom-heavy percussion provide the bedrock groove for Thurston Moore and Lee Ranaldo's ferocious barrages of noise-guitar crunch.
By 1987, the band was confidently articulating their dual lexicon of punk-noir dissonance and supernal, psychedelic sonic calligraphy – bending their jagged, streetwise gnarl into balloon animals of dazzling and beautiful songs. This collision of splendor and chaos would become a hallmark of the group's singular alchemy as well as provide a blueprint for the post-SST American underground they would help invent and ultimately nurture.
Hold That Tiger's encore – four songs by the band's beloved Ramones, which Thurston would later astutely compare to "the perfect pudding after a hearty meal" – serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired.
This first-time reissue with speed-corrected master comes in a gatefold tip-on jacket. Mastered by Bob Weston from the original tapes. Recorded by Aadam Jacobs. Audio repair/editing by Aaron Mullan.
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Repress!
Up next on Open Space is the first installment in a new series of 12 inch records for DJs titled ‘Open Space Club Tools’ - as the name suggests, you’ll find a variety of tools handmade by our favorite producer-DJ’s. Sticky drum beats and tricky rhythms for the nearly-extinct club deejay.
OSCT01 features Benedek, and John Jones as ‘Calvin’ representing our LA-MIA connection, Lachlan McGeehan aka ‘Liluzu’ from Australia, and of course our Miami boy Goiz; once as himself on the A-side, and again on the B-side under his newest percussion-focused alias ‘Glue Boy’. A mixed bag of hammers, nails, screwdrivers and more… All greased up and ready for whatever the club world may bring your way.
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Syncrophone proudly presents Convextion - Torc, marking Gerard Hanson's long-awaited return to the EP format since his iconic releases. The title track 'Torc' delivers deep, atmospheric techno grooves, while 'Andas' plunges further into his signature sound. E.R.P.'s remix flips 'Torc' into a futuristic electro masterpiece. Essential wax from a legend back in full force—don't miss this!
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Meet Kitchen Plug, the Parisian trio that somehow combines the rebellious energy of punk, the synth-driven chaos of electro, and the charisma of a boy band... except, they don’t really dance (yet).
With their new EP "Nice To Meet You," these self-proclaimed nerds have served up an unpredictable, colorful mix of electronic anthems and rock-infused vibes. It's like if your favorite computer-generated juice suddenly turned into an unstoppable emotional rollercoaster.
Expect cheeky melodies, emotional highs (and occasional lows), and enough playful swagger to make you question why you’re not already in their inner circle of "copains" (that’s French for friends, by the way). Kitchen Plug isn’t just making music; they’re creating a sound so lively and full of attitude that you’ll probably feel like you're getting a bear hug from your favorite nerdy best friend — just with more synths and less homework.
"Nice To Meet You" is the kind of EP that doesn't take itself too seriously, but it’ll still make you feel something. So, what are you waiting for? Plug in, and let's see if they can live up to their own hype. (Spoiler alert: They will.)
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Long time friends and collaborators Anna Wall and Thoma Bulwer are back with their next EP following on from their successful last 12” EP release on EYA records with a remix from Radioactive man. This new EP explores their London house n garage roots and includes a remix from deep house don Boris Werner to complete the package in ‘Classique’ style.
Early support from Moxie, Raresh, Secret Sundaze, Eliza Rose, Voigtmann, Shanti Celeste, Reiss, Seb Zito. Peach, tINI, Enzo Siragusa (FUSE), Reeshy, Michelle Manetti (Adonis) and Anna Wall.
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At long last: the classic Steely Dan catalog is back on vinyl. Led by Walter Becker and Donald Fagen, Steely Dan released 7 albums from 1972-1980. The vinyl series continues with Aja, the band’s 1977’s platinum-selling jazz-rock masterwork, which includes the three hit singles –“Deacon Blues,” Peg” and “Josie” – and the elegant title cut. The LP has been remastered by Bernie Grundman from an analog, non-EQ’d, tape copy.
So many stellar albums by Fagen and Becker in the 70′s but this one is timeless. Amazing songs produced and performed to perfection by some of the best session musicians and singers in the business. An Absolute masterpiece from start to finish!
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Vibes Addikt is proud to unveil its latest EP, brought to you by N.O.B.A, an artist whose tracks have consistently made their way into Beatport's Top 100, with support from major figures like Amelie Lens, Mark Sherry, Nusha, Klaudia Gawlas, Charlotte De Witte, Mha Iri, and many more. N.O.B.A continues to captivate the scene with powerful, emotional productions, and this new release on his label is no exception.
This EP, with its powerhouse tracks, is a true collection of sonic bombs. "Shadows From The Darkness" is a masterpiece of intensity and emotion, featuring a remix by INIGMA, the Orlando-based artist now residing in Spain, who brings a hypnotic tech-trance touch to the track.
The track "The Unit" is a techno-trance gem, built on a bed of acid basslines, with an irresistible groove and punchy sounds that sweep the listener into a whirlwind of energy. Meanwhile, "Sunset" takes us back to the golden days of the 90s, with a pure trance vibe and uplifting melodies that evoke the nostalgia of the scene’s finest moments.
An unmissable EP, available in an exclusive purple vinyl edition, reflecting N.O.B.A's artistic vision. A release that will delight fans of techno, trance, and everything in between.
Early support from Mha Iri (Drumcode, Filth On Acid), Charlotte De Witte (KNTXT), M.I.K.E. Push (Bonzai), DJ Fire (Bonzai), Dave Davis (Laark, Cherry Moon), CP Cedric Piret (Bedrock), Tom Leclercq (Versuz)…
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Vibes Addikt est fier de dévoiler son dernier EP, porté par N.O.B.A, un artiste dont les tracks ont régulièrement figuré dans le Top 100 de Beatport, avec le soutien de figures majeures comme Amelie Lens, Mark Sherry, Nusha, Klaudia Gawlas, Charlotte De Witte, Mha Iri, et bien d’autres. N.O.B.A continue de captiver la scène avec des productions puissantes et émotionnelles, et cette nouvelle sortie sur son label ne fait pas exception.
Cet EP, avec ses morceaux explosifs, est une véritable collection de bombes sonores. "Shadows From The Darkness" est un chef-d'œuvre d’intensité et d’émotion, sublimé par un remix de INIGMA, l'artiste originaire d'Orlando, maintenant basé en Espagne, qui apporte une touche hypnotique et tech-trance à la composition.
Le titre "The Unit" est une perle techno-trance, construite sur un lit de basses acides, avec un groove irrésistible et des sonorités percutantes qui emportent l’auditeur dans un tourbillon d’énergie. Quant à "Sunset", il nous plonge dans les années dorées des 90s, avec une vibe trance pure et des mélodies exaltantes qui ravivent la nostalgie des plus belles heures de la scène.
Un EP incontournable, disponible en édition exclusive sur vinyle pourpre, à l’image de la vision artistique de N.O.B.A. Une sortie qui ravira les fans de techno, trance et tout ce qui se trouve entre les deux.
Support de Mha Iri (Drumcode, Filth On Acid), Charlotte De Witte (KNTXT), M.I.K.E. Push (Bonzai), DJ Fire (Bonzai), Dave Davis (Laark, Cherry Moon), CP Cedric Piret (Bedrock), Tom Leclercq (Versuz)…
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Following the release of the single Maqlab, the Marseille-based duo Caïn و Muchi presents their debut full-length album Dounia دنيا.
This takes listeners on a journey through a rich tapestry of industrial gloom woven of dubstep, grime, and contemporary hip-hop. In this album, these ‘labels’ matter as much as they don’t, given the heavy mutations they undergo, in a That’s Hara Kiri fashion (RIP Sd Laika).
At the heart of this record lies a dense yet harmonious sound palette, featuring meticulous vocal processing of lead singer Vanda’s voice, which engages reflection on their shared and individual lives.
As the album progresses, the lyrics reveal layers of stress and trauma linked to colonial experience, intertwined with multiple references to North African ghost stories and legends.
The result is a resonant experience, where the wraithlike and glacial instrumentals crafted by the duo encapsulates the introspective act of witnessing the turmoil of our current world.
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Embrace the golden tranquility of summer with Childhood Memories! Let yourself be enchanted by a compilation where each note softly whispers warmth, inviting the essence of summer to dance freely. Envision yourself nestled in a cozy treehouse, surrounded by lush greenery, basking in the warm sunlight as guitar melodies fill the air. Whether you're lost in a captivating book or sharing laughter with cherished friends, allow these laid-back tunes to become the soundtrack to your summer bliss.
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"For Toronto outsider pop auteur Saya Gray, music is a glittering mosaic of endless influences. Her debut album is akin to a sonic chimera; its limbs assembled from disparate, but complimentary musical organisms. Does she make pop? Folk? Rock? R&B? The moment you think you’ve got her pinned, she’s gone like a flash.
Gray’s often collage-like sonicspheres, blanketed with layers of riffs upon layers of electronic chatter, demonstrate the limitless potential of music as an art form.
Saya Gray has received support from Pitchfork, The Guardian, The Times, Colors, The New York Times, BBC Radio 1, BBC Radio 6, NTS, Fader and has recently recorded an incredible Tiny Desk session to be release around her new album. "
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Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.
THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).
Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.
This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...
It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.
We are talking of one of the seminal Spanish hard rock LPs.
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Embark once again on a captivating journey into the mystical world of Secret Feta, where time flows in all directions, and every sound holds a hidden secret. With the second volume of the Cheese Tricks compilation, the past, present, and future converge in an even more thrilling fusion of enigmatic grooves. Get ready for another unforgettable adventure through the soundscapes of the unknown.
Secret Feta invites you to delve deeper into the etheric world.
In the harmonious universe of Secret Feta, you’ll be transported through various aesthetics of the great family of house and techno.
Don’t mess with GOATS.
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Synth-pop duo Marina Zispin return with their highly anticipated album Now You See Me (Now You Don’t), set for release on March 7 via Scenic Route.
Now You See Me, Now You Don't is the continuing journey through the ever evolving sound of Marina Zispin AKA Bianca Scout and Martyn Reid. As with their previous EP - the recurring themes of Life and Death loom heavily over the 10 album tracks. With support from 6 Music, Resident Advisor, Pitchfork, METAL, Dummy, The Line of Best Fit, Boomkat, and more for their recent singles. With Now You See Me (Now You Don’t), Marina Zispin further reinforces their reputation for crafting lush, melancholic soundscapes paired with surreal storytelling and ice-cold synth pop.
Since their formation in 2018, bridging Newcastle and London, Marina Zispin have quickly captivated audiences with their ethereal blend of dreamlike melodies and avant-garde textures. Their 2023 debut 12” on Night School paved the way for a successful UK tour, a BBC 6 Music session, and a memorable performance at Bucharest’s Collisions festival.
Bianca Scout, acclaimed for her solo album Pattern Damage (with praise from The Quietus, DJ Mag, Resident Advisor, Pitchfork, Stereogum, Bandcamp, The Wire, and more) continues to push sonic boundaries with her unique fusion of sound collage, post-punk, and poetic lyricism. Recent shows across Europe, including at Poland’s Unsound Festival, underscore the duo’s expanding influence.
With Now You See Me (Now You Don’t), Marina Zispin invite listeners on a captivating journey through a signature blend of fantasy and reality. The album is now available for vinyl pre-order.
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** Single Sided LP Edition** BIG TIP!
"Light Decline is mostly built from manipulated samples. The lyrics are inspired by and addressed to those who have pissed me off. Bass is the only played instrument.
The songs sound sad, even though ‘sad’ has no real existence - it’s just a sensation produced by atoms ricocheting off each other mechanistically in an otherwise empty void. However this record has a natural tendency towards sad, and it’s worth recognising the significance of that. "
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Mysterious new label, let the music speak,
You know I don't believe you, when you say that you don't need me
Order now. Collecting orders for repress.
Electronic music has never been solely about the music itself or its fame. It has been a fight, a totem. Every week it becomes a universal communion, a celebration, a reconciliation with both ourselves and others. No frontiers, no territories, no certainties other than being as authentic as possible.
As a musician and producer, after five albums, I clearly know that my proposition will always be about diversity more than a single crafted sound. This is how I am: multifaceted, nourished by social human exchanges and my encounters in science, art, and technology. I have one life and different bodies. I can be physical and digital, technological and organic, house, techno, and soul. This album is about shedding light in a vertical period where the fight for truth and visibility becomes crucial, where Blockchain might become our right to vote. It's about making complex things sound simpler, joining the dots. A proposition more than a promise: Unshadow.
The metamorphosis is happening; embracing all generations on the same song with Nile Rodgers and Madison McFerrin! Embracing the diversity of backgrounds, styles, and geography, from Sacha Rudy to Dominique Fils-Aimé (Canada), through Natalie Sade (Australia). As a citizen of the world, having traveled endlessly for 30 years now, I know how lucky I have been to experience and experiment with various situations. If this album can simply share some of the joy I have received and spread some goodwill and white magic to the listener, I will be the happiest seeing the light that chases away the shadow.
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2025 Reissue
Back in the 90s JP Buckle had releases on Aphex Twin’s legendary Rephlex records and Warp. His debut album Flyin Lo-Fi is true classic in the Rephlex cannon.
These JP Buckle originals are from that album, released in 1998 and out of print on vinyl for 20 years, now re-released on vinyl by Ping-discs with 4 exclusive new remixes from Myoptik, Roy Of The Ravers, Crispy Jason and Inkipak.
This is two slabs of wax with bangin tunes on all four sides. The originals remain classic favourites of Rephlex aficionados the world over, and the remixes come from pedigree artists as well. Myoptik has had releases on many labels, including Mighty Force who first signed Aphex Twin over 30 years ago. Everyone knows Roy Of The Ravers, he has even been played in Aphex Twin’s live sets! Crispy Jason’s amazing music has featured on releases by both artists and Inkipak is the new sensation, with all of his first 4 albums selling out rapidly, indeed his debut album Anomaly is on its 3rd re-release on Pingdiscs now, that’s how in demand he is!
Originals taken from the classic 90s Rephlex album Flyin Lo-Fi.
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Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.
He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.
Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.
‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.
The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.
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Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.
Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.
The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.
Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...
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Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.
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Círculo Cerrado welcomes its first sub-label, E.T.D.G., where sound becomes a story.
Aniano invites you to an immersive auditory experience with Una Serie de Crímenes Sonoros. This first concept EP, weaving between fiction and reality, is predominantly driven by Techno, following the sonic direction previously explored in El Terror De Gáldar on Time To Panic. Naturally, it also features the hints of Electro and Minimal that have become hallmarks of Aniano’s music.
The record’s mysterious and spatial atmospheres draw heavily from 1980s sci-fi cinema and retro video game aesthetics. Rhythms from the iconic TR-909 and intricate synth work from the Nord Lead 2 crown this 12-inch release.
More than just a collection of tracks, Una Serie de Crímenes Sonoros is an exploration of human darkness through electronic soundscapes—a must-have for collectors of conceptual and boundary-pushing music.
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The first-ever vinyl reissue of the classic 1986 debut album from perennial pop icon and pin-up Samantha Fox. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.
Touch Me features four hit singles: the international smash ‘Touch Me (I Want Your Body)’ (#3 UK and #4 US), ‘Do Ya Do Ya (Wanna Please Me)’ (#10 UK), ‘Hold On Tight’ and ‘I’m All You Need’. Immediately establishing Samantha’s signature pop-rock sound, on its original release the album hit #17 in the UK, going silver, before reaching #24 in the US with a gold certification. Pressed on striking black vinyl with white and pink splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics. A strictly limited-edition picture disc is also available. Touch Me is reissued alongside Samantha’s self-titled second album and 1989’s I Wanna Have Some Fun.
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After Dull Boy Johnny's previous release, a double EP with a tropical A-side and an erotic B-side, this time the three gentlemen are out on the dance floor. After all, the neighbours decided as much.
Unlike the recordings of their previous work that took place abroad, this time they stayed in a steamy attic room in Belgium, where guitarist and producer Jan built a studio. Unable to record at night because of neighbours who did not (yet) appreciate Dull Boy Johnny's music, they dove into Antwerp's nightlife.
The group's previous work took you on a cinematic journey where every musical nuance takes you to a specific setting. Be it an erotic seventies scene, a beach party in the Bahamas, or a blood-curdling chase in the Wild West, Dull Boy Johnny covers it all. Nard Houdmeyers, Rik De Bal and Jan found each other in a shared interest in film genres such as blaxploitation, neo-noir and spaghetti westerns. And therefore also the artists inherent to these genres such as Isaac Hayes, Curtis Mayfield and Ennio Morricone. Dull Boy Johnny's conceptual approach to music can be traced back to this passion for cinema.
For the new EP, however, they traded that cosy movie-watching for turbulent nightlife (the angry neighbours, you know). Besides, it was about time to get their inspiration in the flesh. Dull Boy Johnny immersed himself in the pulses, flashes and swell of downtown Antwerp. Thunder chasing crept under their skin and then into their guitars. In grandfatherly fashion, they then turned to composing, first with just bass, guitar and vocals. In that small lineup and with the sounds of the night still reverberating in their minds, the first pieces of the puzzle were laid out. After that, the sound was opened up and a solid rhythm boost was added. This defined the catchy, up-tempo nature of the upcoming EP that centres on themes of dancing, flirting and partying. Expect rousing riffs, catchy hooks and swinging rhythms. Details were meticulously laid out and bricked into the songs with delicate grouting. The fine polishing of the songs was done with patient finesse and a constant attitude to serve the song. With songs like Suspicion, She Can Groove and Dynamite, it is immediately clear that the gentlemen got their mustard from the club: action, party and spunk! All without losing their typical sensuality.
Despite the different working methods for the third EP, there are a lot of recurring elements that define Johnny's fresh sound. The essence? Catchy high vocals contrasted with a sensual baritone voice, carried by a groovy bass and rhythm section. Around it, the details that give the songs the right atmosphere swirl.
Dull Boy Johnny's music prefers to function as a soundtrack to your own imagination. As you listen, you are invited to wander through the various landscapes of their musical world, regularly giving a nod to the more lustful side of your brain. The songs have already been praised for their compelling melodies and irresistible energy.
With this release, Dull Boy Johnny proves their ability to create timeless music that both touches the soul and moves the body. So surrender to Dull Boy Johnny's punchy grooves and dance the night away. Long live the neighbours!
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1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!
2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.
3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!
4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.
5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.
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002 - Remixes[15,93 €]
‘Ice Cream Dream Boy’ serves as a celebratory anthem, an ode to manifesting dreams into reality, and a testament to Shanti's knack for creating infectious and uplifting dance music as she explains: “I wanted to make a happy and uplifting vocal summer tune and I just so happened to be in the peak honeymoon romance period with my now partner (The Ice Cream Dream Boy). He had discovered my love for soft plush toys and decided to buy me a cute little fluffy Jellycat Ice Cream so when I made the instrumental I felt insecure and unsure about what lyrics to write, so I just decided to sing about what I was currently experiencing in my life. I had been a fan of Shivum Sharma for a while and I had just done a remix for his amazing song '7am', so after establishing a cute lil connection I thought I’d ask him to help me write the song as I was very new to writing lyrics!”
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New full-length LP from Toronto producer, DJ and recording artist Tony Price on his Maximum Exposure label. Tony Price is a multi-time Juno and Polaris Prize nominated producer, having worked on a wide variety of records on labels like 4AD, DFA, Slumberland and more. Host of “The Maximum Exposure Power Hour” on NTS Radio
“Requiem For The Ontario Science Centre” is Tony’s ninth full-length LP since 2017, following a series of acclaimed records on labels like L.I.E.S. Records and Telephone Explosion which received coverage and reviews from established outlets like Pitchfork and Resident Advisor. “Requiem For The Ontario Science Centre” pays homage to the beloved 1960’s Canadian landmark and renowned brutalist architectural marvel, which was abruptly closed in the summer of 2024.
The album features longtime collaborator and Caribou touring band member Colin Fisher on Saxophone. The music is Rich with kaleidoscopic saxophone loops, surrealist sound collages, and retro-futuristic synthesizer mirages and will surely resonate with fans of Boards of Canada, Terry Riley and Don Cherry’s “Brown Rice”
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2025 Repress
DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.
A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.
By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.
The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.
“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.
Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.
The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.
“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.
This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.
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Introducing What I Love by Orlando Voorn + Han Litz - A 4-Track EP Get ready to dive into the rich fusion of soulful beats and sophisticated grooves with What I Love, the latest 4-track EP by electronic music pioneer Orlando Voorn and jazz flautist Han Litz. This release perfectly captures Voorn's innovative mastery in electronic music paired with Litz's exquisite melodic touch. What I Love is a sonic journey, mixing the best of house, jazz, and electronic fusion with a unique, timeless vibe that fans of both artists have come to adore. Each track on this EP is crafted to captivate and elevate - from soulful harmonies and intricate rhythms to Litz's mesmerizing flute lines that add an organic, uplifting energy to Voorn's powerful beats. Whether you're a DJ, a long-time fan of house music, or new to the genre, What I Love offers a fresh take on sophisticated soundscapes. Don't miss your chance to experience this extraordinary collaboration. What I Love is out now, so bring it to your collection and let the groove take over!
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