Search:the face

ATA's newest release comes from The Yorkshire Film & Television Orchestra and features the vocal talents of Bugalu Foundation & Mind On Fire vocalist Martin Connor. This cover of the Georgie Fame classic "Somebody Stole My Thunder" features a powerhouse vocal performance from Martin Connor alongside the heavyweight big band brass sound of the Yorkshire Film & Television Orchestra's 10 piece horn section. This 7" single is backed with Rachel Modest's debut recording for the label, her intense vocal rendition of the Ben E King classic "I Who Have Nothing". Both tracks feature the trademark elements of the ATA sound: Big brass arrangements sit alongside the propulsive rhythm section, perfectly supporting both singers incredible performances.

Originally appearing as part of ATA Records free download series "Hard Work, No Pay" these 2 tracks have been sought after on vinyl for some time after garnering radio play and positive responses from BBC6 Music's Craig Charles Funk & Soul Show and the Huey Morgan show.

The Yorkshire Film And Television Orchestra is the brainchild of ATA founders Neil Innes & Pete Williams and multi-instrumentalist/arranger Steve Parry, who was approached by Neil & Pete in 2014 to provide the horn arrangements and brass performances for a then untitled British library style track intended for release as a 45. That track went on to become the track "Hawkshaw Philly" and features on the compilation "Early Works: Funk, Soul & Afro Rarities From The Archives" released earlier this year. Their shared love of huge big band arrangements and British library music ensured future collaborations, notably on this year's "ATA Records: The Library Archive Vol. 1".

Martin Connor is a well known face to anyone familiar with the Mancherster music scene and has spent 10 years as part of the Manchester collective "Mind On Fire" before providing vocals for the Latin-Funk band Bugalu Foundation (Legere Recordings).

Sheffield born,Rachel Modest developed her unique vocal ability within the churches and gospel choirs of her local community. Now based in Leeds she has developed a powerful and soulful vocal style that takes inspiration from artists such as Madeleine Bell, Dee Dee Warwick, and Dusty Springfield. Her debut for the label was this cover of the Ben E King classic "I, Who Have Nothing", which was later followed by an appearance on the debut 45 by The Magnificent Tape Band "Patterns in My Mind"and her own solo 45 "I Try/Forbidden Love", as well as collaborating with The Magnificent Tape Band on their debut LP "The Subtle Art Of Distraction" all of which received radio support from the likes of Gilles Peterson (BBC6 Music), Huey Morgan (BBC6 Music/Radio 2) and Lauren Laverne (BBC6 Music).

Wilson Records is back in the game with a various artists after 8 years!

WLS22 welcomes three new artists to the Wilson Records roster: Pats Favorite better known for his recent release on Lunar Orbiter Program under his Turk Turkelton moniker, Clafrica and the Colombian Tropico Frio.

Good Vids, Vile Times is the second album by Ant Antic. Its central themes are the never-ending flood of information and its effects on us. The Berlin-based singer and producer Tobias Koett wraps serious questions into radiant pop songs. What does constant bombardment of information do to us? What's lost along the way?

On his new album, Ant Antic observes the emotional power of media and information. The helplessness we feel in the face of predominantly bad news and the growing inability to take pleasure in good news. The way an overload of junk information leaves no mental capacity for real social connections. As a child of the first globally connected generation, he witnesses geographical boundaries dissolve and people consider humanity as one. At the same time, everyone seems to struggle to come to terms with a reality overflowing with possibilities. Slowly, we collectively turn into superficial nihilists.

"When I wrote my first album Wealth I looked inward to examine my own emotions, asking myself "How do I really feel?". For Good Vids, Vile Times I was focusing less on the how and more on the question of why. "Why do I feel that way?"", Tobias explains the creative writing process behind his second album as Ant Antic.

"I'm a bag of hot air / Push me up density / Feel like a millionaire / Don't bring me down gravity", he admits on the single Yellow Press. Referencing the album's cover artwork by Austrian photographer Erli Grünzweil, Tobias describes how it feels to advertise his own life to other people - when behind the meticulously crafted presentation, there's sometimes nothing left but emptiness and anxiety.

Good Vids, Vile Times is an album rich in variety, ranging from indie-pop to contemporary R&B. In stark contrast to the somber tone of the lyrics, the songs radiate a cheerful liveliness. Fueled by analog synthesizers and an electric guitar often not discernible as such, the record builds on Ant Antic's signature sound. It's all Tobias on Good Vids, Vile Times - writing songs, recording vocals, guitars and synths, all the way to production and mixing. Essential elements and ideas are put into focus by getting rid of everything else. At the same time, the new album sees singer and producer Tobias openly flirting with pop, exploring new sounds and aesthetics, and maturing musically and lyrically. No song is alike, each one tells an honest and relatable story - all held together by the magic glue that is Tobias' distinctive voice, which might stay with you forever.

Hello Sailor Recordings is back with its first (and last) release of 2020, this time with another excellent addition to the beloved 7" series.
The chaotic sounds and lyrics of 'Sera que eu to Pirada' originally released in 1995 by short lived band Silvanna & A Maquina do Tempo, feels current amidst the challenging times we face and it's accompanied by 'Vem Viver Pra Mim' on the flip side.

Both songs were elegantly edited by Sao Paulo mystery producer Hotaru for this Brazilian holy grail of early electro and proto-house

Soft Cell have today revealed more details about the limited-edition 7″ vinyl EP which will accompany their previously announced photo-book ‘To Show You I’ve Been There’ which was published in May.

Entitled ‘Magick Mutants’, the exclusive EP features four previously unreleased tracks: three brand new re-workings of the early Soft Cell classics ‘Bleak Is My Favourite Cliche’, ‘Science Fiction Stories’ and ‘The Girl With The Patent Leather Face’, alongside a cover of the late Fad Gadget’s seminal 1979 single ‘Back To Nature’, and the EP release is also dedicated to Fad Gadget who studied alongside Marc Almond and Dave Ball at Leeds Polytechnic.

Intended as a sequel to 1980’s ‘Mutant Moments’ release, the new EP features artwork by the band’s Dave Ball, also who created the ‘Mutant Moments’ sleeve.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

Walter ‘Junie’ Morrison released his third solo LP, Suzie Super Groupie, in 1976. A slick, smooth and soulful record, it’s a genre-melting tour de force with rich elements of proto-boogie, funk and jazz. In short, this is yet another essential album reissue from Be With.

The sublime “Suzie Thundertussy”, is a favourite of Harvey and Theo, and was brilliantly sampled by Madlib for Kanye West’s “No More Parties In LA”. The track opens with a sinuous synth and combines Junie’s storytelling abilities with an emphatic vocal style and funky arrangements. The powerful bass and sinister chords create an undeniable groove, and the explosive chorus is full of ambition and joy.

“If You Love Him” is a great, mid-tempo soul song. With a swinging jazz-infused middle-eight, it demonstrates Junie was much more than a mercurial funkateer. The laconic groove of “What Am I Gonna Do” recalls “Fresh”-era Sly Stone, whilst the frantic “Super Groupie” showcases his sharp imagination and sense of fun. The lyrics range from humorous to dirty, all fuelled by an infectious groove and tight horn arrangements.

The P-Funk of B-side opener “Surrender” bounces and sparkles, with a strutting Junie backed by great harmony vocals and joyous horns. “Suzie” is a sleek, softer affair albeit with a disco pulse; a beautiful combination of bright, funky horns, fluid basslines and vigorous rhythms. “Stone Face Joe” is another character song, this time one that chugs along on a sweet boogie rhythm.

The winner for us, however, is the closing piece. An extended funk-rock jam, “Spirit” has a heart-rending spoken-word intro and, as a nod to Jimi Hendrix, creates a live concert sound, complete with screaming crowd and fuzzy vocals.

Junie made his name as the lead singer and keyboardist of the Ohio Players. As the mastermind behind “Pain”, “Pleasure”, “Ecstasy”, and the oft-sampled “Funky Worm”, he was beloved by countless musicians, not least Prince. As co-writer of some of Funkadelic’s seminal works - “One Nation Under A Groove”, “(Not Just) Knee Deep” – his standing as one of the structural fathers of funk is undisputed.

In late 2016, Solange’s “A Seat At The Table” featured a track called “Junie”, a tribute to the freedom he created in music. His work continues to be as relavent and inspiring as it was when it was first recorded.

In February 2017, Junie died, aged just 62. With records as mighty as Suzie Super Groupie, his legacy will live forever and Be With is proud to be able to do our bit to make this LP accessible again on vinyl.

Ltd. Purple Edition

Out 18th September, ‘What It Is’ is the second LP from Brooklyn- based multi-instrumentalist, composer, arranger and producer Sly5thAve; his first new music since the critically acclaimed project ‘The Invisible Man: An Orchestral Tribute to Dr. Dre’. The recording had been first devised as a benefit concert in LA which was attended by Dr. Dre who took to the stage to express thanks for Sly5thAve’s arrangements. Having spent the past three years performing the project with orchestras around the world, ‘What It Is’ sees Sly5thAve retain the high-quality that fans and critics alike have come to expect from him while stepping out with something considerably different, delving deeper into the worlds of hip hop, jazz and soul. Celebrating not only his own versatile musicianship but that of his collaborators and friends, ‘What It Is’ is a collection of tracks showcasing the best of the multi-faceted musician. A sought-after collaborator himself, Sly5thAve has attained much respect from his work with a host of highly fêted musicians including; Prince (as a member of the New Power Generation Band), Stevie Wonder, Gladys Knight, The Dave Brubeck Quartet, Taylor Swift, Janelle Monáe, Freddie Gibbs and Quantic.

Two things become immediately clear when you hear “Body Electric”, the third original album by White Haus, João Vieira (X-Wife / Dj Kitten)’s solo project. The first is that we’re faced with an insatiable music lover, with an exemplary historical awareness. The second is that is music, although it channels all that passion, does it in such a way that is increasingly all his own. The thing is, that if on one hand, in these twelve new tracks, we’re assailed by the presence of the tutelary Talking Heads and their satellite projects, by Vivien Goldman, Sexual Harrassement or Konk’s New York No Wave, by the electronic pop of Soft Cell or New Order, by the hybrid funk of Prince and his Minneapolis accollites, by the Italo-Disco inspired by Giorgio Moroder or Patrick Cowley or the Acid House of Adonis or Maurice.

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

One of the most successful German jazz musicians, Nils Wülker has won multiple awards, and collaborated with the likes of Jill Scott, Craig Armstrong, OmaraPortuondo (Buena Vista Social Club), and Peter Vettese.



“Go” is Nils’ excursion into the world of electronics. The recording is "maximally not live" with analog synthesizers, the arpeggiator, the organic loops and beats.



In contrast it presents some of his most beautiful compositions so far - and his most dynamic trumpet playing beyond his live albums and concerts.



Recorded with members of his live band, as well as American trumpeter Theo Croker on "Highline", their remote duet.

We welcome to the Moustache Records family the oldskool electro legend Martin Matiske with his Electronic disco-ish 12 inch EP release "Robotic Theatre" This is a future vision of a theatre run by robots and is the era in which machines entertain mankind. Operas are written and played in a mechanical way. The pieces of "Robotic Theatre" deal with different terms of stage work. Track A1 is called "Acting Faces" and Refers to the rehearsing of the role, as well as the interaction of the actors on stage. The well-being of the actor does not often match what is played. He has to play even If it's painful. B2 is the track called "Machinery" Human beings are machines that build machines today. The advantage is perfection and time saving. Robots as actors are reliable and precise. B1 listen to the name "Transistor Dances"its Like The Hungarian Dances by Johannes Brahms you just need a dance to express happiness and remind your culture. Dances bring people together. A robotic dance should not be missing in a play. The last track of the EP is the tune "Practise" a story about a robot the has to practise to achieve perfection and it is fun." Don'tplay this underwater order now gone is gone.

At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop. Though "Broken Beat" was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It's not clear who first coined the term "Broken Beat", but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.

Lina & Gwen Wayne have become notorious for their techno sets throughout Germany and Europe, maneuvering from insider to headliner depending on the premises. We are pleased to announce their first EP "Genug gelabert" will be released on 4th September 2020 via Hold Your Ground on 12" vinyl and digitally.

Worm & brutal, like falling face first onto the concrete floor on a warm summer night, is the first track "Palaber" by Lina & Gwen Wayne. For six minutes, the ground feels like the sky, lying feels like falling, dancing feels like breathing and beyond your immediate surrounding there is nothing. This is techno and for the moment these two producers from Hamburg and Berlin are your new horizon.

The two DJs started producing together in late 2019, with their no frills & dark, but fun style translating effortlessly into their own productions. "Genug gelabert" ist the title of their first EP, meaning Enough said, and we are gonna keep it at that. Come marvel at the beautiful brutalism. Incl. Remixes by Moog Conspiracy and Innacircle & Metatext.

Vital Sales Points:
DJ promo by Cutthenoize, German print & online by Audiolith Inhouse, UK/international online

it's been a while since we decided to open and launch this new project, we were just waiting for the right moment, and maybe we waited too long. or maybe not. we were a little stucked by the indecision of when to put it out, how to contextualize, and all the usual "psychological" practices that one faces before starting a new journey. but ever since we received the masters of this wonderful concentrate of different minds, we have been looking forward to smashing it out. and whether it's the real right time or not, it's now finally here! the true meaning behind this capsule is not so definable in words, perhaps because it is an attempt to look back and forth at the same time, without getting lost in a one concrete definition. but when we got to the tracks, first individually, and then together, it came spontaneous to glimpse something new and unconventional as a whole. we are therefore proud to present another of our musical journeys, this time in certainly more experimental and odd territories. the sounds you hear can definitely be taken as the true manifesto of this new chapter. proto? post? everything in between. ENTER >

Fabe makes his highly anticipated debut on FUSE this August as he unveils his four-track vinyl sampler from his sophomore album, ‘Four Point Island’.

A key figure within Mannheim’s blossoming scene and a core member of the city’s well-respected BE9 collective, DJ, producer and label boss Fabe has quickly forged his position as an artist of note within the house and minimal landscape. Featuring as a regular for both Cocoon and FUSE/Infuse across their worldwide events and labels, whilst also launching his own imprint Salty Nuts, the multi-faceted talent has carved out a trademark sound palette combining groove-heavy bassline with elements of classic house, forceful techno, forming a unique, high-energy style which is now instantly recognisable as his own across the scene today. Following on from the release of his
debut album ‘Water Tower’ in 2019, late-summer welcomes the release of his second long-player project as he debuts on FUSE to deliver ‘Four Point Island’ – becoming only the second artist to release an album on the label after founder Enzo Siragusa.

• 180 GRAM AUDIOPHILE VINYL
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

John Holt was known as a member of The Paragons, before establishing himself as a solo artist. Like a Bolt adds up to all the singer’s output with Duke Reid’s Treasure Isle label. When this album was first released in 1973, John Holt was already a veteran in the Jamaican music scene. John wrote most of the songs himself, a different approach from the covers he recorded before. It features a lot of his best work from the early years. His classic voice is backed by a musical landscape full of melodies and rhythms. Like a Bolt is a true gem of original reggae.

Like a Bolt is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Keplrr returns to Control Freak with ‘Reconstructed Club’ - a collection of high-definition techno with a meticulous focus on sound design, careful arrangement, and a painstaking attention to
detail.

A-Side ‘Esoteric Functions’ is a screw-face roller full of anxious, rising pads, driving percussion
and an insistent sub rumble. On the flip, 'Convection' continues down the wormhole with a
propulsive, hypnotic low-end throb & trickling, dissonant arpeggios. Finally, the chugging triplet
groove of ‘Bods Realm' rounds off the journey with hair-raising whispers and warped, dubby
textures.

’Reconstructed Club’ is a call to an extraterrestrial dance floor, a catapult through the vortex -
strap in for the ride.

The invasion continues as We R The Aliens returns for its first Various Aliens compilation featuring some of the finest intergalactic cuts by way of Markus Sommer, Chklte, and your resident aliens. Boronas and
Snad kick off the A1 with a high-altitude MPC workout. Chklte picks up the pace with The Sway Effect, characterized by an infectious SH101 lead and a floor facing groove. Jakob Seidensticker and Melina
soundtrack the afterhours with the B1, an atmospheric minimal house cut. Finally, Markus Sommer brings us home with the multi-faceted Lost Love, a cheeky retro-reminiscent dancefloor burner.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Celebrating the 25th anniversary of their debut album 'Olympian', this is the definitive ‘Best Of’ Gene compilation, available exclusively on vinyl. Compiled by Matt James, Steve Mason and Kevin Miles and featuring 22 tracks, pressed on 2LP 180g heavyweight blue coloured vinyl Featuring fan favourites, plus all of the bands 10 top 40 UK singles including ‘Sleep Well Tonight’, ‘Haunted By You’, ‘Olympian’, ‘For The Dead’, ‘Fighting Fit’, ‘We Could Be Kings’, ‘Where Are They Now?’, ‘Speak To Me Someone’, ‘As Good As It Gets’ and ‘Fill Her Up’
Includes a selection of sleeve notes from the band and respected journalist Keith Cameron Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. Gene released four studio albums and a collection of Bsides and radio demos between 1995 and 2001, and were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

Over a decade after its inception, ground-breaking composer Max Richter announces the release of VOICES – a major new recording project inspired by the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope. Max Richter invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. He received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.Max Richter explains, “I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it’s easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn’t a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world.”

Infernal Sounds show no sign of letting up during 2020 as they present their 5th release of the year, this time with a debutant to the label, SWR. The relatively unknown artist (formerly known as Widowmaker) has been making fluctuations since arriving on the scene - his release with Cocobolo Sound receiving high plaudits as he created two tracks which perfectly paid homage to the original '06 sound. As for his Square Soulja EP for IFS022, he's plated up four cuts that showcase his vast variety in skill and sound, taking influence from grime and lacing a future sound within his productions. Whether you prefer the more surreal sounds of 'Vertigo', the downplayed filth on 'Isshin's Theme', or the more in your face skankers in both 'Square Soulja' and Cypher Zero', this is a 12" you'll want to be packing.

Having already received heavy support from the likes of Truth, N-Type, and many other reputable artists in the scene, this is an insta-bag.

The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

Conrad Van Orton and Jheal sign the third release for Eyes Have It, 30D sub-label that, as usual, explores the darkest, coldest and even suffocating side of the techno spectrum.

As it happened in the second release (‘Sei Tracce In Nero EP’ by Reeko & Group), the high contrast between both sides gives sense to the album, giving it a strange but perfect balance, this time quite more oriented to the dance floor. It’s for sure that some people will think that CVO and Jheal might use elements that at first sight might be familiar but, let’s be honest, both have the ability to make everything sound very original.

On the A side Conrad Van Orton, an Italian producer with a lot of experience in techno and the most experimental electronics, elevates the listening to a sonic musical experience, literally. The three tracks, although ‘Dysfunctional Organic Device’ is probably the best example, are pure techno brutality, as highly raw, energetic and obsessive as they are obviously functional. Three true ‘monsters’.

On the B side Jheal, a face already known to the label thanks to his brilliant participation in ‘Close Encounters 002’, brings melancholy (‘150 Wreaths’) and tons of introspection (‘Our Fathers’) to the record. It is not easy for industrial techno to sound as emotional as when Alejandro manipulates it, something especially remarkable for such a young producer. Congratulations.

Re-release of the record originally released on 2016-02-05!

Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O'Malley.

sales information: Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset').

Formed in 1965 by three players from the emerging British jazz avant-garde - Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare - AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies.

Evan Parker famously described the improvisational logic of AMM's music as 'laminal', in contrast to the 'atomistic' approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM's music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP's second side, an extended fragment of 'Mockingbird').

AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic

the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.

- Francis Plagne

About a year ago Leroy Se Meurt delivered a simply hard-hitting and smashing debut EP… which quickly sold out at the ET HQ… the mixed background of this duo from Paris in electronic music and in punk-rock shapes the distinctive sound of Leroy Se Meurt… you can call it synth-punk or elektropunk… or simply post-punk for that matter… Not only their debut EP did have impact… possibly even more did their live shows… their live performance is wild and in your face…

Now there is the follow up to that acclaimed debut EP… this time Leroy Se Meurt takes a little step back from the totally in your face attitude… the sound is a bit darker and aims less on a direct confrontation but works to crawl under your skin… the energy and tension is still there but is building up gradually… and has a bigger impact that way… Don’t miss out on this next step in the campaign of Leroy Se Meurt!

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Finland’s Luke Lund is one of the most inspiring modern dub aesthetes. Using odd number time signatures, warped bottom end, and proper experimental murk, HOPIUM creates fiendishly innovative electronic groove and atmosphere. Existing in a far away land tucked north of techno, dub, and noise where all blend and connect, HOPIUM is a wise encoding of fear, frustration, anxiety, and false hope. Luke Lund’s sound is unquestionable sincerity of exploration, equally inspired by Finnish electronic masters such as Mika Vainio and Ilpo Väisäinen, as well the legends Justin K Broadrick and Mick Harris – as such, absolutely at home on our label. Releasing on labels such as Youth, Co-Depedent, Totes Format, as well his own encyclopedic Terranean Recordings, Luke’s catalog of work continues to expand as does his global profile – assisted by touring Europe and playing at venues from Berlin to London to Helsinki. All tracks produced and recorded at Solace, April 2018 – June 2019. Mastered by Daniele Antezza at Dadub Mastering Studio. Design by Luke Lund. Executive producer Kurt Gluck.

Four diverse acid-driven techno and house cuts from Vault Wax label boss, Beyun. With Detroit-influenced strings, gritty SH-101 pads, and emotive live acid lines, this introspective EP is ready for repeated listening and exploring altered states on 303.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Ju/Na is a collaborative project between Juri Corrado and Nathan Dawidowicz and was borne in Berlin where both of them live. It's a conjunction of free verse and analog soundscapes - which could be described as 'analog poetry'

This debut album 'Haiku' is an exploration of contemporary narcisism which unfolds against a backdrop of different facets of contemporary life in imaginary/imagined or concrete urban spaces. Each side of the record contains three tracks - reflecting the three phrases of Japanese Haiku poetry. With a surreal language and quotes from mythology, the opus potrays the dreamy delirium of the Ego, from Love to disenchantment.

Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics.

Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for 6 years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way.

The trio's highly anticipated sophomore album 'Give Space', released 14th September on Sdban Ultra, was recorded at 7 different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, ambient sounds, all collected within the search for the unpredictable, were given space within this dialogue as the essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music - sometimes fixed, sometimes completely free - takes on an ever-changing journey into their multi-faceted world.

Der Multi-Instrumentalist und Produzent hat sich mit fein strukturierten und enthusiastischen Kompositionen bereits einen Namen gemacht. Sein 2016 erschienenes Album „Forms“ zog mit seiner spielerischen Verwebung von Rhythmen und Samples die Aufmerk-samkeit der elektronischen Musikszene auf sich. In diesem Jahr veröffentlicht The Micronaut nun Olympia (Summer Games) – ein Album, das seinen sorgfältigen Produktionsstil weiterführt und dem Geist der Olympischen Sommerspiele gewidmet ist. Denn auch wenn diese abgesagt wurden, so sind die damit verbundenen Tugenden wie Durchhaltevermögen und Zusammenhalt zeitlos und gerade in diesen Wochen um so wichtiger. Solch grundlegende Prinzipien, die den Geist der Olympischen Spiele ausmachen, sind es auch, die The Micronaut umgetrieben haben. Und so war es kein Zufall, dass Summer Games entstanden ist: „Ich habe bisher immer Konzept-Alben veröffentlicht. Dieses Mal habe ich Olympia gewählt, weil es nicht nur Wettkampf, sondern auch eine Friedensbewegung ist, bei der es um die Menschen geht, ganz egal welcher Nation sie angehören.“ Diesen vielfältigen und stets vitalen, lebhaften Geist spiegelt das Album wider: Das verspielt-zarte Uneven Bars oder das träumerisch-sphärische Table Tennis, sie alle erzählen von den besonderen Momenten, von Siegen und Niederlagen und all den Facetten, die dem Sport innewohnen. Dadurch ist eine Reise entstanden, eine schwungvolle, aber auch turbulente Achterbahnfahrt, die den künstlerischen Anspruch The Micronauts abbildet: „Lebhaft, expressiv, dramatisch, manchmal ruhig, manchmal kraftvoll – ich versuche immer die Vibes von Wanderlust, Hoffnung und individuellen Momenten in meiner Musik einzufangen“ – erzählt der in Leipzig lebende Künstler. Und dieses Mal liegt das Spannungsfeld zwischen sportlichen Disziplinen – in dem sich The Micronaut musikalisch ausdrückt. Wobei seine Musik keinesfalls zum Sich-Messen anregt, vielmehr sind viele Tracks mit ihrem übermütigen, optimistischen Vibe für die Tanzflächen der Clubs geeignet, um sich die Anspannung der zuweilen olympischen Herausforderungen des Alltags von der Seele zu tanzen. Dazu hat The Micronaut anspruchsvolle Arrangements mit fließenden Melodien und unaufgeregtem Gesang kombiniert und den Weg für ein neues, collagenartiges musikalisches Genre geebnet. Bisweilen dreht Summer Games sogar in Richtung Elektro-Pop ab, dann wieder ist es inspiriert von old-schooligem Hip Hop and in anderen Momenten mündet und explodiert es förmlich in intelligent gesetzten musikalischen Hochsprüngen. Die Messlatte liegt hoch – doch bei allem Auf und Ab scheint immer durch, dass The Micronaut ein begeisterter Musikliebhaber ist, der Ideen und Inspirationen von überall her sammelt und sie unter Einsatz seines ganz eigenen emotionalen Prismas übersetzt.

Re-Issue on Extreme Eating. Housed in a gatefold sleeve designed by Steve Lippert, mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. From Original Press Release 2015 "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." 1/Live Tonight 2/No One's Bothered 3/Bronx in a Six 4/Silly Me 5/Cunt Make It Up 6/Face To Faces 7/Arabia 8/In Quiet Streets 9/Tarantula Deadly Cargo 10/Rupert Trousers 11/Giddy on the Ciggies 12/The Blob

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.

Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.

If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.

Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.

A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.

Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it's finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It's a shift that rewards the risk, reorienting Khruangbin's transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that's always defined it. And it all started with them coming home. By the summer of 2019, the Houston group_bassist Laura Lee Ochoa, guitarist Mark Speer, drummer DJ Johnson_had been on tour for nearly three-and-ahalf years, playing to audiences across North and South America, Europe, and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton, Texas, ready to begin work on their third album. But they were also determined to slow down, to take their time and luxuriate in building something together. Musically, the band's ever-restless ear saw it pulling reference points from Pakistan, Korea, and West Africa, incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything, the album became a celebration of Houston, the eclectic city that had nurtured them, and a cultural nexus where you can check out country and zydeco, trap rap, or avant-garde opera on any given night. In those years away from home, Khruangbin's members often felt like they were swimming underwater, unsure of where they were going, or why they were going there. But Mordechai leads them gently back to the surface, allowing them to take a breath, look around, and find itself again. It is a snapshot taken along a larger journey_a moment all the more beautiful for its impermanence. And it's a memory to revisit again and again, speaking to us now more clearly than ever.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Presenting a very special and unique collection of electronic and dance music aimed at assisting and honouring our brave and skilled NHS frontline workforce in this most challenging of times. Artists of all walks of life and of all musical persuasions and styles have contributed hand-picked tracks for inclusion on Care4Life free of charge. Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. We hope the proceeds from this amazing collection of music can contribute to easing that pressure in some way.

Care4Life features lots of new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as The Chemical Brothers, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, Locossolus (DJ Harvey), Matthew Herbert, Crooked Man, Daniel Avery and many more. Care4Life is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

In the continued spirit of people coming together in this time of need the Care4Life project aims to give some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community. Above Board Distribution is working in conjunction with Dispersion PR and Your Army Music is ensuring that 100% of the proceeds from the sale of this product, will be donated directly to NHS Charities Together (registered charity no.1186569). NHS Charities Together has been consulted throughout this process and are proud to be an official fundraising ‘commercial participator’.

Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed.

The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz.

The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

First Floor is a japanese music lover and producer who got noticed by his release on swedish elite label Local Talk in 2018. For his second vinyl release, he digging deep again and shows some well crafted House tunes with some dope beats and great melodies. Topping things off there are 2 remixes: fellow japanese wizard Kez YM (Faces Recods, City Fly, 4Lux) adds some club flavour while new hot shot Simon Hinter (Freerange) stays deep and funky. Some hot tunes for a hot summer!

Porridge Radio grew out of Dana Margolin's bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces. Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it - so Porridge Radio was born. Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin's distinctive, indie-pop-butmake-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY's most beloved and compelling live bands. The band's sound - bright pop-rock instrumentation blended with Margolin's tender, open-ended lyrics - has developed and refined. Now, they are taking that development a step further, as they put out their label debut, Every Bad.

Fantastic first album of Tunisian producer Azu Tiwaline, melting psychedelic dub, industrial and hypnotic techno deeply rooted in her berber culture, supported by Lena Willikens, Nicola Cruz, Toma Kami and Violet, to name a few!

Azu Tiwaline is a new name for a new spirit: one of a producer inspired by the need to explore her origins, rooted in the Tunisian Sahara. The Call to a different sound, organic and raw, vibrating in the great spaces of the African desert where trance music resonates... Ecstatic ritual.

Her first album, Draw Me A Silence, conceived as a diptych, reveals the multiple facets of her identity. Uniting the bonds that connect Berber music, dub culture and techno hypnosis, Azu Tiwaline invites us to refocus on our senses and our Nature. She knows how to use contrasts between light and the invisible, exploring the complexity of our emotions and the mystery that emanates from them, in a polyrhythmic chiaroscuro that runs through each one of her tracks, and of which we discover, as we go along, all the outlines.

Draw Me A Silence Part. I (to be released in February 2020), delivers the most hypnotic variant of her music, centered on dark percussive rhythms and a skillful use of repetition; each of the 5 tracks ineluctably carrying the listener into a trance. Two major tunes particularly illustrate the artist's imagination: "Itrik" and "Berbeka", perfectly synthesizing the heritage of Berber trance music and her techniques derived from minimalist and repetitive electronic music.

The continuation, Draw Me A Silence Part. II (to be released in April 2020), gives prominence to a deep heritage drawn from the dub culture and its numerous bass music filiations. This second part thus gives a new breath in the use of sound space, exploited in a much broader way, leaving all their space to complex syncopated percussive lines, supported by massive basslines dedicated to the best sound-systems. Omok, the first of the five tracks of this Part II is the perfect demonstration of this, playing here the essential role of a bridge to the darker waters of this album's end.

Each of these two parts exist as an Entity, and it is only when they are united that they will reveal their full meaning. Thus, in May, Draw Me A Silence will find its final form in a double-vinyl unifying them. Listening to this album in its entirety offers us a wide panorama of the sound landscapes visited by Azu Tiwaline, who seems to breathe primitive sounds of a faraway desert into a music with modern tones - and vice versa. A resolutely hybrid sound and a singular experience, playing with contrasts and nuances to catch the listener in vast and so far unexplored territories.

Steel drum cover of Grace Jones. Steel drum cover of Erykah Badu. Third full length album coming in 2021. Bacao Rhythm & Steel Band is back with another crushing two-sider that is guaranteed to set dancefloors on fire and get heads nodding around the globe. The mysterious steel pan outfit hailing from Hamburg, Germany has become a staple in DJ sets from Europe to Japan, from the US to Brasil, and anywhere else these tunes have found their way to speakers. They have released a slew of classic 7”s and two critically acclaimed full length albums. With that they have set a high bar for themselves, one clearly they intend on pushing higher with this new offering. Side A is BRSB’s take on Grace Jones’ nightclub classic “My Jamaican Guy”. They take the tune to a new height from the first beat, laying down an infectious groove that will get people out of their seats immediately. Heavy duty drums and bass shake the speakers through the intro then the pans reveal what they are covering as they play the instantly recognizable top line of the original. Rhythm guitar, heavily echoed percussion hits, and the different pan sets all combine to make this yet another instant classic from Bacao. BRSB has received a lot of praise for their choices of covers. Occasionally reworking hits, but, most notably pulling the album cut gems from artists typically more championed by the underground. Well...here they go again, covering Erykah Badu’s homage to the late great J Dilla “The Healer”. This is the type of thing to make Spice Adams jump on his kitchen counter and scream. From the instant this comes on, necks will be snapping and faces will scrunch up as they take the original beat produced by Madlib and give it a run for its money. Shaking subwoofers with the eerie tremolo bass they replay E. Badu’s vocal melodies on the pans adding their own flourishes. Glockenspiel plays the downbeat and a clap like thunder keeps the two-step swaying, all coming together to make this another must have two-sider from Bacao Rhythm & Steel Band

New fresh release on Rye Records by The Robinson. The 3
tracks' on this record are each a perfect representation of the
different facets of the duo: Soulful, self-reflective and pulsating.
Together the decisive sounds accompany melodies that take
you on a journey far away...

THE definitive collection of one of dance music's most enduring and infamous left-field anthems, across 2 x 12"s and 1 x bonus 33rpm 7"!

The collaborative team of Arthur Russell and Steve D'Acquisto crafted some of the best wonky disco not disco cuts during their short lifespan and 'Is It All Over My Face' is one of their crowning glories. Collected here, to celebrate the 40th anniversary of this gloriously weird record, are all the best versions from then, and now. Even a quick dig in the archive yielded some treats with the male and female acapella appearing for the first time EVER, featuring on a specially 33rpm cut 7" alongside Larry Levan's promo 7" mixes. Also, the instrumental version has never been released before, but it is here for this very special limited package in it's full, unedited glory. This is one for the heads, an essential do-not-miss RSD special edition for those who are still 'love dancin' 4 decades later, housed in a classic special West End disco-bag. Don't sleep!

Produced in collaboration with Sony / Above Board distribution, 2020.

Debüt-EP des Londoner Duos Jockstrap (Georgia Ellery & Taylor Skye) auf Warp. Jockstraps Mixtur aus harten Dubstep/Industrial-Beats, klassischer Komposition und verdrehten, zum Teil perversen Fantasy-Erzählungen begeisterte die Fachmedien (Dazed, Pitchfork, BBC 6Music, The Quietus, The Face, The Guardian) bereits bei ihrem Einstand, der digitalen "Love Is The Key To The City" EP (2018, Kaya Kaya Records), woraufhin es Lobeshymnen hagelte und Warp Records das Duo vom Fleck weg signte. Die beiden Künstler kollaborierten einzeln und zusammen bereits mit Underworld, Dean Blunt, Injury Reserve und Damon Albarn's Africa Express, zudem spielte Georgia Ellery in dem mehrfach prämierten, britischen Film "BAIT".

- "My favourite avant-garde situationists." - Mary Anne Hobbs (BBC 6Music)
- "One of my favourite bands." - Matt Wilkinson (Beats1)
- "Jockstrap are giving classical romance a surreal twist." - The Face
- "Melodiously sweet and sophisticated yet tempered by bursts of naivety and caustically fucked up-ness." - The Quietus
- "I don’t know what kind of music Jockstrap are making right now, but I like it." - The Fader

Bristol-based artist Void Cells returns on Blind Allies with a solid five-tracks EP, filled with atmospheric beats and raw, distorted pads.
The record, different to the previous releases, includes a special remix by NX1 and features vocals by Helena Markos.

Known for his grainy, analogue dance floor hits, Hungarian artist Norwell has returned with a powerful and transcendent 4-track EP, releasing through Fanzine Records. "In Between" EP is a drum-heavy, intricate series of grooves and soundscapes that draw the listener in from the beginning. While remaining faithful to the tendencies of techno, this record brings something of its own to the table in the form of acidic basslines and retro Kosmiche synth parts, resulting in a stunning array of textures.

"Eastern Echoes" is the opening track on this EP, and it deserves that spot. Combining an intense, Aphex-esque drum beat with hazy, dreamlike Middle Eastern inspired vox and pads, this track is a pumped-up monster of an introduction to the EP. This is immediately followed up with "Evaporate Yourself", a dark and brooding beat with a serpentine bassline that creeps its way through the track and combines with the lush, ethereal ebb and flow of the detuned synths and horror-themed vocals. This track is as cosmic as it is industrial, and sits on the fence between the two in a very unique way. "Model 244" on the other hand utilises a much more 70's modular sound reminiscent of early Kraftwerk hits adapted to the modern age. The track builds layers upon layers of left-field percussion that dance around the central arpeggiated bass in a very pleasing way, and Norwell doesn't leave out his signature glitchy, mechanical soundscapes, which give the track its glorious tension and release. The EP is rounded off with "Repetition Void", potentially the most experimental of the four tracks. Flanged hi-hats dance around the listeners ears and hazy analogue keys induce a hypnotic trance, exacerbated by the almost Papal choir vocals that fit seamlessly into the background.

As Norwell's first release through the Fanzine Label, this EP is dark, it is foreboding, and with the unexpected turns the rhythm takes, it doesn't care about your feelings. If you're ready to be punched in the face by this sci-fi horror listening experience, watch for the release of this EP, Fanzine latest addition to their roster of tasty electronic jams.

2x12" Transparent Red & Blue Coloured Vinyl in a double Gatefold.
Limited Pressing of 3000 Editions WORLDWIDE! Please ensure to reserve your requests in advance ... In order to secure stock as this
is ltd. pressing!

2x12" Pressed & Designed On Gold-Opaque Coloured Vinyl - Double Gatefold - LTD PRESSING OF 2000 WORLDWIDE - Featuring All The Classic Hits & Hard To Find Rarities ...

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

Repress!

From his earlier work with pioneering London production outfits like Bugz In The Attic, DKD, Silhouette Brown, Blakai, Likwid Biskit, Neon Phusion and Agent K, to his recent releases and collaborations with Dego and the extended 2000black family, Kaidi Tatham is one of the most quietly influential British artists of his time.

2008's 'In Search of Hope' is the second solo album from Tatham and the first under his own name. It pushes the musical boundaries of electronic and dance music in a way that is still rarely heard today. While the album retains its contemporary London influences, it allowed Tatham to stretch out musically in a way he hadn't done on record before. The majority of the album's tracks aren't in the standard 4/4 time signature that most contemporary dance music follows, and some switch between a handful of different time signatures over the course of a few minutes. In a way, the album could be viewed as Tatham's mission statement and a sign of what was to come from him as an artist: uncompromisingly and unapologetically sophisticated modern black music. His face melting virtuosity never gets in the way of coherent groove, melody, harmony and arrangement. Originally released on Tokyo based label Freedom School and recorded on a modest set up at his flat in south London, 'In Search of Hope' has become a holy grail record for dance music fans and jazz heads alike. Its mythical status is spurred on by the fact that it was unavailable digitally, until now, with physical copies fetching astronomical prices online, especially considering how recently it was released compared to other records that reach similar prices.

Disco icon D.C. LaRue and Fraternity Music Group go back to the original multitracks and rework two classics from the Pyramid Disco catalog. With DJ Spinna, Johnny Juice (Public Enemy) and Mell Starr on remix duties, LaRue’s “Face Of Love” and “Indiscreet” are revitalized and tuned up by and for DJs and dancers. Juice’s intense, ‘80s house flip of “Face Of Love” sets things off before DJ Spinna gives the song a classic white glove treatment, extending and dropping drum breaks at all the right times. Mell Starr rounds things out with straight-to-the-point mix.

The flip side sees Juice get creative with it once again, with a dubby, cut-filled version of the break beat classic “Indiscreet.” As a DJ who’s cut the original up a million times, Spinna knows exactly where to freak the beat on his version of “Indiscreet,” lacing it with monster open drums throughout. Once again, a classy Mell Starr mix closes out the side of this jam-packed 12-inch.

Heavyweight pressing and an immaculate full color jacket utilizing the original Pyramid Disco sleeve design makes this a must-have for any funky DJ.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

In just a few years and with a handful of releases, the Canadian producer better known as Yves Malone has earned himself a reputation. In The Beginning of Nothing he continues working with many layers of analog synths and a keen sense of drum machines to create atmospheres and textures extracted from late twentieth-century collective fears of a dystopian future. Created as a sort of score to an internal elegy, Yves Malone creates soundtracks of the daily fear, regret, and resignation that is his waking life, an effort to isolate and negate this anxiety, which is a constant and unwanted companion. Sequenced on mostly working vintage gear, The Beginning of Nothing tries to extricate a bit of beauty from a rapidly darkening landscape.

Two celebrated collaborative recordings by Croatian Amor & Varg2TM available on limited vinyl for the very first time! “Body of Water” from 2018 was the first collaboration between Croatian Amor & Varg- 5 tracks of aquatic ambient celebrating the myth of brilliant summers. It was followed in late 2019 by the lean and quick, beatdriven “Body of Carbon”. Now available together on limited vinyl presented in black disco sleeve with printed labels. "Hazmat bouquets drenched in rain, A tiny piece of coral on a chain around neck, An invitation to see the miracle in the things around us. Croatian Amor & Varg2TM together. Contemporary electronic music.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Village Of The Sun is the new collaboration between London jazz trailblazers Binker & Moses and Simon Ratcliffe, one-half of legendary UK Electronic pioneers Basement Jaxx Evocative of Ratcliffe’s inspirations such as Alice Coltrane alongside Masters at Work, the track ‘Village Of The Sun’ itself is awash with atmospheric vibes, a future Balearic classic ‘TED’ is enormously catchy, uplifting and feel-good. And classy as you like. Written around an extraordinary chord porgression by Ted Moses from the tune ‘Dreamship’, it compels you to dance with a smile on your face Initial pressing comes in a special edition die-cut sleeve

Vesa-Matti Kivioja has been making waves as an integral part of the multi-faceted Ljudverket & Meltdown Deejays crews in his native Finland for many years. His productions merge 80's ambient & library stylings with John Hassell-esque soundscaping, live percussions and vintage drum-computer programming drenched in fathoms deep kaleidoscopic dubbing and mixing. This particular EP is all of the above, the sound of rural Western Finland thawing after the hard-bitten winter months, each track inspired by Kivioja's fascination with various species of lizard, hence the EP & track titles.

Second release from Royer Records. This very hard to find disco holy grail is finally back on the shelves for the first time since 1978.
"Super-Disco" is the first ever release from Cameroonese artist Pierre Tchana. A 2 tracker holding the dancefloor filler "Soul Disco" on face A while the flip hold a more afro-rock tune called "Get Up Dance" .

This comes pressed on an heavy 12" and in limited quantity.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

UNCAGE’s label owner Marco Faraone drops his second album on Rekids, focusing on an unrestricted, unfiltered soundscape inspired by childhood, entitled ‘No Filter’.

Since his initial appearance on Radio Slave’s esteemed imprint in 2018, Italian artist and label boss Marco Faraone has continued to enthuse techno communities across the globe, playing at the likes of Awakenings, Caprices, Tomorrowland and Kappa FuturFestival. With previous releases on Ovum, Drumcode and Be As One, the Tuscany-born artist has garnered the support of Len Faki, Rodhad, Laurent Garnier and many more.

‘Force Deep’ and ‘Iconic’ give the senses a relaxed flush of ecstasy and lofi-esque rhythm, while tracks like ‘Night Ride’, ‘Addiction’ and ‘No Filter’ lean more on a stripped back, beat focused dub techno tip. ‘Frogface’, and ‘Time Equals Eternity’ then flurry with signature drum programming, and otherworldly synth stabs. Finally, ’Trust Me’, propel forward with after dark atmospheres, giving this versatile and luscious album that mainstay place amongst any unique techno set.

The Inhale/Exhale posse returns. For our 3 years anniversary and our 10th release we have prepared a super hot double 12 inch pack with shitloads of serious house cutz for your club, bar, living room and ears. With a bunch of love we like to present some common but also fresh faces to the Inhale/Exhale family and this compilation. Be prepared for endless nights full of dance pleasure. Including a wide range of House music from soulful to funky to bigroomesque.

Outta Sight’s collectable ‘Classics’ series continues with two real heavyweight’s of the rare soul scene, face-to-face for the very first time. Together, these two icons helped define, not only Northern Soul, but the soul music genre… and now, almost sixty years on, they go head to head.

In the blue corner is former commercial artist and amateur heavyweight boxer Mr Roy Hamilton who set the dancefloors trembling across the North of England when his 1962 “Earthquake” was finally unleashed on the Northern Soul scene. Hamilton was already a huge star in America scoring two R&B No.1’s in 1954 and ’55 with the standards “You’ll Never Walk Alone” and “Unchned Melody”. But, he will forever be remembered in the U.K. for his Northern anthems “Crackin’ Up Over You”, “The Panic Is On”, “You Shook Me Up” and the explosive “Earthquake”.

In the red corner is the multi-talented actor, pianist, arranger, producer, songwriter and singer Mr H. B. Barnum who’s early belter “It Hurts Too Much To Cry” belies its 1962 recording date. Barnum also scored on the rare soul scene with “Three Rooms With Running Water”, “The Record” and the awesome “Heartbreaker”.

But his contribution far exceeds his personal output with writer, producer and arranger credits on a slue of floorfillers inlcuding Judy Street’s “What”, Earl Wright’s “Thumb A Ride” and The Magnificents’ ”My Heart Is Calling You”, to name but a few.

Warok launching its third record with releasing a second Ponorogo, which is a various artists. Tracks by Arnaud Le Texier, Clotur, Unbalance and Eyth, 4 tracks with hypnotic clean cuts and an elegant grooves, dance-floor oriented. On "Ponorogo 2", the label reveal the faces of the Warok warriors.

Franky Rizardo announces the launch of his new label, LTF Records with four-track EP ‘Primrose’. The culmination of a number of years hard work, the Dutch DJ, producer, promoter and now label head proudly presents an outlet for his own music.

Encompassing an immersive feeling of energised focus, involvement and enjoyment of his journey within the industry so far, LTF Records (Listen To Flow) is Franky Rizardo’s new platform to transport its listeners and followers into a flow state of mind.

One of The Netherlands finest exports, Franky Rizardo has established himself as an international touring artist, as well as name renowned within his own country. Being an ever present on Dutch national radio station, SLAM! has provided him with the perfect platform to develop and nurture a label that is crafted with clear intentions and identity. Building a career based on strong philosophies, Franky has consistently aimed to do his own thing, keep everything in perspective and most of all, having fun.

From ingraining himself within the ANTS and elrow camps, to releasing on labels such as Strictly Rhythm, Rejected, Saved and 8Bit, Franky has become a name synonymous with deep driving house music that blurs the lines between Techno and House. The multi-faceted Dutch artist has also represented himself and his brand FLOW, at events such as Tomorrowland, Fabric – London, Shelter – Amsterdam, Amnesia – Ibiza and Soho Garden Dubai, further cementing his status as a one of electronic music’s most dynamic individuals.

Across four-tracks on the ‘Primrose’ EP, Franky focuses his energy firmly on the dancefloor, keeping people locked into his flow state. Opening with ‘Primrose’, the tracks low-end rumbles throughout, supplying the perfect atmosphere to keep the crowd moving. ‘Faze’ offers a wonky blissed out vocal alongside stabbing synth. Whereas ‘DC Terrace’ is a nod to the peak-time movements at Ibiza’s famous club, DC10. Closing the EP ‘Clouds’ provides an energised up-tempo focus track to engage to zone.

The label launches at time when authenticity within the industry is key, Franky continues to focus on his own output, never taking himself too seriously and always keeping full perspective on the task at hand. Inviting you to join him with LTF Records, Franky wants you to enter his flow state.

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

After a period of quiet, Area is back with friends on Kimochi Sound.
All the tracks here are reworks of Area productions, but the collaborators take the originals in new and exciting directions.

Gauss' Natan H offers up a stomping version of Dare To Be Different, whereas Freerotation's Leif contrasts with a fleetfooted rendition of The Face Yours Reminds Me Of. Longtime label contributor Benjamin Brunn gets the whole B-side to traverse tempos and textures and round out the emotive release.

hand-numbered white vinyl 12" in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve we cannot guarantee which one you will receive)

A new sublabel of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020 with two fresh Canadian synth-pop LPs on vinyl. Along side a reissue of Ceramic Hello’s cult 1981 minimal synth classic “The Absence Of A Canary,” comes this, the self-titled debut LP from a new Toronto-based duo, Analytica.

Analytica is comprised of David Lush, who’s released several killer solo tapes under the name Memorex, and Gabe Knox, who made a big splash last year with his awesome instrumental synth/kraut solo LP “ABC” on acclaimed UK label Polytechnic Youth.

Analytica make synth-pop the old-fashioned way: driving, verse/chorus pop songs utilizing hardware synthesizers and drum machines, vocals and bass guitar, and recorded to tape. The comparisons to early-Depeche Mode (there’s even a cover of “Reason Man” — an unreleased, Vince Clarke-penned, Depeche song that was part of their earliest live sets), and prime-era New Order (right down to the Oberheim DMX percussion and Peter Hook-style bass guitar) are inevitable, but rarely are these sounds executed with such style and conviction. According to the band, lyrically Analytica “explore facets of the dark age ahead — the propaganda, the nationalism, the environmental disaster in front of our faces - while attempting to offer something of a defence against a nihilistic response to these fears. It's at once a call to arms and a recognition that we're entirely fucked.”

The LP contains 11 songs, and is housed in a stunning reverse-board jacket, and is limited to 500 copies.

The past 18 months have been a whirlwind of activity for the
London based poet, rapper, novelist, spoken word artist and playwright Kate Tempest. Having released her third studio album which was executively produced by Rick Rubin, ‘The Book Of Traps And Lessons’ to critical acclaim last June, Kate then embarked on an extensive year of touring, which included her biggest show to date at a sold out London Eventim Apollo. ‘Unholy Elixir’ and ‘People’s Faces (Streatham Version)’ are new takes on the album’s ‘Holy Elixir’ and ‘People’s Faces’ - Produced and Mixed by Dan Carey.

Tucked away in their cover, but never for long, Guts' musical eyebrow wands have once again panicked, this time aggressively marking Africa.

Letting his instrument guide him towards the one he felt was the next signature of his label Pura Vida Sounds, the beatmaker-producer found himself face to face with an old acquaintance: Pat Kalla aka the voice of the Voilaaa Sound System, aka the one with which he crossed the funk on his album Philantropiques and the title "Daddy Sweet".

Convinced to follow him in studio, Pat, accompanied by his Super Mojo celebrates this collaboration by decapsulating La "Canette". Long groove in the mouth, acidic notes of synths and attacks of precise guitars, despite the bitterness of his words, a drink that suits every hour of the day and that strengthens the legs most numb. Heckled by her journey to the bottom of Pat’s musical bag, shaken by the syncopes of the beat, she spreads her funk foam from the very beginning into the A-side furrow.

Bartering the beige trench coat of Commissioner Joss against a colorful toghu, Kalla and his Mojo revisit on the B side the "Requiem Pour Un Con" de Gainsbourg. The martial groove, dark and hypnotic leaves its place to a polyrhythmic afrodisco production, surrounded by a low velocity.
More than a recovery, they are making a real diversion.
A hijacking driven by Pat Kalla and his Super Mojo, with Serge Gainsbourg and Jean Gabin sitting in the back seat like two "Pachas".