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Following their recent solo releases Soniscope (Dauw) and Cells #5 (Important Records), Berlin-based multi-instrumentalist Midori Hirano and Tokyo based string experimentalist Atsuko Hatano have teamed up for their first collaborative full-length: Water Ladder. An intense, multilayered continuation of earlier collaborations (Atsuko was featured on Midori’s debut LP back in 2006), the foundation for this new collaborative album was laid when they shared stages in Berlin (Ausland) and Japan in 2019. Working remotely at first, they later recorded parts of the album in Nara’s snoihouse (using omnidirectional polyhedral speakers).

“As we rallied back and forth with our recordings in the process of creating this album, unanticipated fluctuations and irregularities emerged, coming together into a kind of music with a unique resilience and buoyancy that cannot be confined to existing molds. It was as though we had built a Water Ladder to bridge the gap between us,” explains prolific composer and viola player Atsuko Hatano, who’s been busy recording solo and with colleagues such as Jim O’Rourke, Eiko Ishibashi, Mocky, Tatsuhisa Yamamoto, Takeo Toyama, and Anzu Suhara (Asa-chang & Junrei).

Kyoto-born, Berlin-based Midori Hirano, who’s also been releasing music under her MimiCof moniker, adds multiple instruments to the ever-changing sonic landscapes of Water Ladder – an album defined by suspenseful and seemingly suspended compositions that often feel like floating in midair, a sensation the musicians compare to “that distinctive feeling you get from riding a high-speed elevator, where you can no longer tell whether you’re going up or down.”

Devoid of birdsong, the late summer air is nevertheless full of buzzing, whirring, hissing sounds on foreboding album opener “Summer Noise,” a cinematic intro with slow-moving piano chords and an ominous build-up over the course of its sprawling eight minutes. Elsewhere, sudden bursts of viola cut through nighttime peace (“Nocturnal Awakening”), followed by “Cotton Sphere” – which makes the sensation of floating in midair complete: harmonies and melodies rise and form to fall apart again, leaving only trails of previously defined space shimmering in their wake…

Whereas the title track truly explodes half-way in, the final “Cascade” brings closure to the electro-acoustic six-track collection: the floating continues, but the interlocking musical planes are no longer ruffled or rippling, no longer torn in many directions at once. Instead, the sonic streams merge and eventually disappear like ephemeral water falls after heavy rain or sudden snowmelt.

“Water cannot retain its form on its own, and can take any shape as effected by external forces. Its movements cannot be captured by eyesight alone: A body of water that appears to be crashing down into a deep, bottomless waterfall could actually be rising up very slowly into midair,” says Atsuko. “This is an invitation for you to cross the ever-transforming Water Ladder built between Midori and myself.”

Turquoise Vinyl

The "Tetragonal EP" marks the fourth and final release of the Stone Techno series for this year. Together with the Ruhr Museum foundation we were able to create a very unique concept which refers to the notable history of the Ruhr Area. The collaboration with each artist was a great pleasure and experience for us and as you might already know if you're following this project since the first release: all of the results that reached us were impressively various and ingenious.

On the "Tetragonal" EP you will find a nicely curated mixture of artists and tracks, which takes you on a mesmerizing journey. In the beginning our dear friend Dax J delivers a straightforward 6-minute banger that he's known for. Followed by an anthemic and yet percussive piece of Hadone which reminds us of the long raving nights we all have missed so much.

On the B-side Colin Benders ennobles mineralogy with a carefully composed arrangement which drives you deep into modular synthesis, while Felix Fleer takes you on a late night trip with oscillating tones and harmonies.

We hope you enjoy our last Stone Techno release for this year and don't worry: there's a lot more to come in 2022 with a new sample library as well. Stay tuned!

Each release is limited to 300 copies (180gr marbled 12" Vinyl, Full Cover Print).

The original soundtracks from the Universal Studios films Frankenstein (1931) and The Bride of Frankenstein (1935) composed by Bernhard Kaun, Giuseppe Becce, and Franz Waxman

The wait is finally over. Today, multi-platinum Danish band Volbeat announce the release of their eighth studio album, Servant Of The Mind, coming via Universal Music on December 3rd. Volbeat are two decades deep into a career that has found them sharing stages with genre legends like Black Sabbath, Metallica, Motorhead, Slipknot, Megadeth, Anthrax and more. Not ones to rest on their laurels, their forthcoming album Servant of the Mind, which was written and recorded during the shutdown and quarantine necessitated by the COVID-19 pandemic, is introspective but pulls no punches and is no less raucous or driving than their previous efforts. The 2CD is a digipak release with 4 additional tracks. The 2LP is 2 x black heavyweight vinyl, gatefold sleeve, printed inners.

The wait is finally over. Today, multi-platinum Danish band Volbeat announce the release of their eighth studio album, Servant Of The Mind, coming via Universal Music on December 3rd. Volbeat are two decades deep into a career that has found them sharing stages with genre legends like Black Sabbath, Metallica, Motorhead, Slipknot, Megadeth, Anthrax and more. Not ones to rest on their laurels, their forthcoming album Servant of the Mind, which was written and recorded during the shutdown and quarantine necessitated by the COVID-19 pandemic, is introspective but pulls no punches and is no less raucous or driving than their previous efforts. The 2CD is a digipak release with 4 additional tracks. The 2LP is 2 x black heavyweight vinyl, gatefold sleeve, printed inners.

GENOCIDE PACT return with their eponymous new album. An overdose of gut-wrenching Death Metal, Genocide Pact is heavy, engrossing, and undoubtedly brutal. "This album reflects on the feeling of watching the world crumble while dealing with personal tragedy," says guitarist/vocalist Tim Mullaney. True to his word - every track on Genocide Pact is a sonic assault brimming with palpable malaise. From the guttural screams in the album's opener "Led to Extinction", to the driving double bass that carries "Perverse Dominion", and a head rattling low end on "Deprive Degrade" - Genocide Pact is wholly negative Death Metal. The fury behind Genocide Pact captures the band's collective frustrations and personal journeys through these turbulent times. "You turn on the news and see mass shootings, a global pandemic, endless war, and corporations and politicians trying to sell you bullshit. You pick up your phone and another friend or family member has died. On top of that, you’re broke as fuck and work endlessly for a boss that doesn’t even know your name. You find yourself paranoid, pissed off, and embracing nihilism," Tim Mullaney says. GENOCIDE PACT have learned to embrace the negativity, churning out one of 2021's ugliest and unforgiving records.

From deep Electro to Downtempo, Cheap Records is back with a new release by legendary Austrian producer Erdem Tunakan who runs Cheap Records together with his buddy Patrick Pulsinger. Being there from the early '90s these guys are front runners in the European techno scene and built a label with classic releases by Pulsinger, Robert Hood, Sluts Strings & 909, Potuznik, Louie Austin, and many others always pushing the boundaries and finding the right balance between the dancefloor, the livingroom and the laboratory!

The final two tracks of the Blizzards Remix EP are Irène Dresel's epic warehouse belting version of Vectra and Nathan's own live version of Torchsong which melds choppy beat juggling with gorgeously glistening synths and is fresh from his recent UK tour. These follow the release of the 90s infused bass heavy Sandstone and Afrodeutsche’s rework of Cry Me A Blizzard, which stripped the original right back to its chords and added her own achingly beautiful vocals, to create a haunting choral ambient artwork. This follows last year’s new album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor.

Baxter Dury releases a 20 year Best Of through
Heavenly Recordings.
 ‘Mr Maserati’ showcases two decades of Baxter
Dury’s idiosyncratically louche music, a universe of
late-night London meet-ups, shuffling basslines
and comedown disco tunes, all run through with a
wry bleakness and sweet love of humanity.
 ‘Mr Maserati’ collects tracks from across Dury’s six
albums, plus a new song, ‘D.O.A.’.
 Baxter Dury on the new track: “It’s a kind of
provincial nod to the music I got into during
lockdown because my son Kosmo was playing it -
Frank Ocean, Tyler the Creator and Kendrick
Lamar. I became obsessed. They’re embracing
everything – sexuality, politics, all of it – and I find
that inspiring.”
 In November Baxter embarks on his biggest UK
tour so far, with a headline London show at
Kentish Town Forum.
 LP in printed inner sleeve plus digital download
code

The original soundtrack from director John Wayne’s American epic historical war film Alamo (1960)

Originally recorded in 1983

A Never Before Released Studio Album

featuring Horace Tapscott with Flautist Aubrey Hart

and Saxophonist Kafi Roberts

Direct From the 1/4” MASTER TAPES (All Analog Cut)

Tip-On Sleeve

Insert with Liner Notes by Mark Weber



Recorded in October of 1983 - Horace Tapscott accompanied by only flute and sax, a sparse and beautiful album containing some of Horace Tapscott’s best playing (the Tapscott solos are among his finest on record)- Two sidelong tunes- Cut directly from the original Master Tapes- Tip-on sleeve - Insert with photos of Kafi Roberts (Sax) and Aubrey Hart (Flute) and a new essay by Mark Weber

Horace Tapscott : piano / Aubrey Hart : flute / Kafi Roberts : soprano saxophone

Four no-frills uptempo tracks that fuse electro, ghettotech and jungle as only Detroit's Filthiest can.

The original soundtrack from the 1960 comedy-drama, La Dolce Vita, directed and co-written by Federico Fellini.

The original soundtracks from director Roger Vadim’s films Et Dieu Créa La Femme (And God Created A Woman) (1956) and Le Repos Du Guerrier (Love on a Pillow) (1962)

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Limited edition 12" dedicated to the Neve A Maggio song flavoured with four remixes. Three from Mushrooms Project and one with a 90's house style by Deep88.
Wrapped in elegant electronics and an international flavour, Sara's voice recounts the unusual in these days characterized by strong anomalies and cold solitude. Like when it snows in May, like when you want to pick a rose and instead find yourself blinded by a white reflection, completely out of place. Yet there is life, under that white; breath, pulsation, a rhythm that presses and makes you dance: a song that drags you away from a daily life troubled by extraordinary events, which become intimate and confidential, but still unique, like every single snowflake.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All releases are licensed audio tracks re-mastered in their original form with sleeves recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

black vinyl repress

Our next release, and now long-awaited, is a collaboration between IMOGEN and Ben Pest. This follows IMOGEN's earlier appearance on Earwiggle which was a highlight of the Eel Behaviour series. We're big fans of Ben Pest and are very pleased to have the pair debuting their first full release together on the label.

From the hyperactive opener "Volts", that effortlessly juggles raw analogue techno with UK hardcore and all manner of rude bass wobbles, they soon delve into further chaos through the squawks and clatters of broken industrial cut "Gramalkin". "Shibooty" is a perky take on Chi-town techno, upping the funk levels through bustling shuffled 909s, humming bass and cartoonish vocal sequences. With the brooding acid electro of "Misjudgement Day", IMOGEN and Ben pile on some extra modular drones for the road, finishing off the EP in killer fashion.

What do you get when you blend a reverential take on the diverse canon of popular Caribbean music with an all-star cast of seasoned studio musicians from the heart of Brooklyn? The answer lies in Combo Lulo's much anticipated debut studio long-player, Neotropic Dream. The group takes its influence from the deep musical heritage of New York's cultural pedigree, especially the heyday of the city's Caribbean record distribution industry — a culture of music that still bubbles today in the crevices of the city's independent neighborhoods and record communities.

Despite the general scope of the muse, it's hard to precisely pin down this fantastic re-imagining. In some ways, that's why the title for the band's debut album is Neotropic Dream, a nod to the biogeographic region that encompasses the countries along the Afro-Caribbean diaspora, a region intensely diverse in its climate, fauna and flora. This theme manifests musically as you journey through Combo Lulo's original compositions and cleverly chosen covers. More than anything, it's a dreamy storm of styles and musical moments born anew. And just as weather swiftly travels and transforms the Caribbean, so the varied musical styles carry the listener from the album's start to finish. Not just a talented band's showcase of styles, but rather a sumptuous feast of savory and sweet ingredients on display, together. A musical curry roux, if you will, that fits together so harmoniously, it's no wonder the band engenders automatic appreciation both in their studio recordings and in their uproarious live shows.

Whether it's cumbia gone rock steady, or reggae gone chicha, or vocal vs. version, there's a little something for everybody on here, depending on where you drop the needle. With splendid original compositions and horn arrangements from band leader Mike Sarason and saxophonist Anant Pradhan, respectively, Combo Lulo is quickly proving themselves to be a powerhouse of the highest caliber.

LP+Buch

Limited Edition Deluxe Version comes with 50 page children's book inspired by the album. Written by Francine Prose and illustrated by Omar "El Oms" Juarez. The colored vinyl is red. Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

The interdisciplinary collective and record label Liber Null proudly presents its newborn vinyl series, kicking off with two releases “ Vol I & II”, taking eight of the best cuts from it’s Seven Years Anniversary compilation, “Delirium”. The releases showcase unique music from a diverse selection of artists and friends, including tracks from Phase Fatale, Alessandro Adriani, An-i + Unhuman, Zanias, Celldöd and SSSS.

Loyal to the concept of Ritual Magick and with a deeply ideological approach towards darkness and chaos in performance art, the two records complete a cutting-edge journey through mutant soundscapes and electronic body-music, made by the finest producers.

You know you're into something good when you open the album you just bought and find a lyrics sheet, then play it and quickly realise the record is actually instrumental. The unruliness that defined Costa Blanca's short-lived career resulted in such nonsensical contradictions, and helps understand why one of Spain's best jazz-rock bands of the 70s never had a proper breakthrough.

Goldene Deluxe Edition zum 10-jährigen Jubiläum des Debütalbums von Princess Chelsea. 180g goldfarbenes Vinyl in einer gestanzten Gatefold-Hülle mit Goldfolienrücken, Songtexten und einem Poster im DIN-A1 Format. Lil' Golden Book ist das Debütalbum der neuseeländischen Künstlerin Princess Chelsea. Es wurde ursprünglich am 2. Mai 2011 über Lil' Chief Records veröffentlicht. Das Album wurde von Jonathan Bree und Chelsea Nikkel produziert und erzählt die Geschichte des Aufwachsens als Teenager und junger Erwachsener in Neuseeland. Nikkel gab an, dass die Produktion des Albums fast drei Jahre dauerte. The Sunday Star Times beschreibt es treffend als "when cute meets creepy". "Princess Chelsea veröffentlicht anno 2011 mit gerade mal 19 Jahren ihr Langspiel-Debüt "Lil' Golden Book". Darauf regiert kurioser Pop. Mit dem Video zu "The Cigarette Duet" landet sie völlig überraschend einen Youtube-Hit. Der Track handelt von den unterschiedlichen Haltungen zweier Partner zum Thema Abhängigkeit. Die eingängigen Melodien, die sie in vielfältige Arrangements bettet, ordnen viele dem Baroque-Pop bei. Vor allem Klavier und die feengleiche, spröde Stimme der Dame dominieren die Songs, die oft zwischen Sadcore und Ambientpop oszillieren. Darin finden immer wieder entrückte Synthieflächen und vereinzelt elektrische Schnipsel Einzug. Zusammen mit orchestralen Parts ergibt dieser schrille Cocktail einen cinematischen Sound, der in drei Jahren Heimarbeit entstanden ist." - LAUT.de

Im Mai 2020 erschien das Doppelalbum Figures der legendären belgischen Band Aksak Maboul. Nun folgen gleich zwei Alben mit Remixen, Coverversionen und neuen Versionen von fünfzehn ganz unterschiedlichen Musiker*innen auf Vinyl (jeweils streng auf 500 Exemplare limitiert). Betitelt sind sie Redrawn Figures 1 und Redrawn Figures 2. Mit von der Partie sind u.a. The Notwist, Cate Le Bon, Felix Kubin, Tolouse Low Trax und Matias Aguayo. Zu ihren Versionen kommen vier weitere von Aksak Maboul-Gründer Marc Hollander selbst. Wie im Albumtitel bereits anklingt, bat Aksak Maboul die Musiker*innen, sich nicht nur die Musik, sondern auch das von Véronique Vincent gestaltete Artwork von Figures vorzunehmen. Die daraus resultierenden sechzehn Bearbeitungen zieren das Cover von Redrawn Figures 1. Das Cover von Redrawn Figures 2 wiederum stammt vom französischen Maler Hervé Di Rosa, einem der Mitbegründer der "Figuration Libre"-Bewegung.

2x12"s of the finest IDM and electronica from Dutch producer EXM. Descent takes you on a mind altering journey over 9 impressive tracks.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team.
The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of
brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.
Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaboration for the second time on the album - After the « Lost Maestros Collection » - with the
support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,
a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by
Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

Favorite Recordings proudly presents Deux, second album of French Jazz-Funk quartet Aldorande. In this new chapter, the four explorers pursue their interstellar trip on the Aldorande
planet, deploying their ever deeper love for the 70's Jazz-Funk & Fusion scene. Extending their first
visions of this new world, the bigger-than-life arrangements of this second album reflect again their
high attention to dramatic narrative schemes, breezy Brazilian vibes, tempestuous funky grooves and
strong cosmic melodies from outer space. Classic and contemporary at the same time, Deux is built
for the like-minded souls still looking for the perfect beat.
Twisting time and space but never forcing the groove, the band dives more profoundly into the
Cortex influence of their compositions, with intense female back vocals fitting perfectly into their
cinematographic vision. Like a cry in space, could these esoteric incantations be heard by Aldorande's
divinities? Or will they be more impressed by the super-tight rhythm section with its bangin' basslines
or an irresistible blend of drums and percussion? In the end, they probably would have to surrender
after hearing the infinite echoes of the synthesizers and horns reflecting in the atmosphere. Deep and
thoughtful, the travel has only begun but it seems that so much has already been experienced.
Breaking the code, they opened the gates to a rebirth. One that could be only accomplished by finding
the “Pierre des Mondes”, deeply buried somewhere on Aldorande - the only key to solve the riddle of
the groove. Mission accepted.
You'll find in Aldorande some of the best French jazzmen including bandleader and founder Virgile
Raffaëlli on bass (Setenta & Joe Bataan, Camarão Orkestra), Florian Pellissier on keys (Iggy Pop,
Setenta, Cotonete & Di Melo, …), Mathieu Edouard on drums (Chassol, De La Soul) and Erwan
Loeffel on percussion (Camarão Orkestra, 10LEC6). On this album, they took the initiative to invite
two guests on some tracks: AOR singer Al Sunny and killer guitarist Laurent Guillet (Le Soldat Rose,
Setenta).eir ever deeper love for the 70's Jazz-Funk & Fusion scene. Classic and contemporary at the same time, Deux is built for the like-minded souls still looking for the perfect beat.

Available on November 19th 2021 as Tip-On Vinyl LP & CD.

On Top Records is extremely proud to welcome back Smasher with his sophomore album, ‘Vibes In Motion’. due for release the 16/07/2021

Following the release of his debut album ‘Locked In Locked On' in 2020 which featured in numerous 'Album of the Year' lists Smasher has spent the past year offering a high level of consistency among a time which has been very difficult for creatives.

With live shows stopping to a halt Smasher has taken this opportunity with both hands building a home studio to sustain creativity a very important factor for an individual who has a burning passion to create music, he has used the time productively “Vibes In Motion” is 51 minutes of future classic British UKG encompassing Hip Hop, Grime, RnB, 2 step Garage all blended together seamlessly to bring a fresh approach to a genre he has gone extremely hard for. As with previous material, the album is produced by Smasher himself collaborating with long time friend Aaron Greenwood bringing his soulful smoothed-out keys and backing vocals the pair have a great working relationship which spans over a decade which can be heard through out the record.

Smashers journey began with a love for late 90’s UK Garage collecting vinyls from record shops and dj’ing on pirate radio, which lead him to Hip Hop, RnB, Reggae, Soul and many different uk underground music styles, followed by decades of producing records for some pinnacle uk artists most recent production credit for “Ghetts” on the critically acclaimed ‘Conflict Of Interest’ album charting at number 2 in the uk albums chart, Giggs - Landlord album, Klashnekoff - Iona to name a few, Smasher is a producer who can deliver a very high level of production no matter the genre. Over the past 2 years Smasher has gained props far and wide: from Todd Edwards to DJ EZ releasing a record under his Nuvolve imprint, to guest mix for MBE clothes designer Wale Adeyemi, comedy UKG faves Kurupt fm posting his “lockdown freestyle challenge” Numerous guest shows & live streams for Rinse fm, Kiss fm, Phaze Transition & Mind Charity, limited vinyl run presses to collaborating with Capo Lee & Ayo beats for film soundtrack “Against All Odds”

Since releasing “Locked In Locked On” the feedback for the project was so greatly received i knew how i wanted to approach this next album and with plenty of time on my hands to experiment i wanted to include more collaboration, a lot of the link ups came together organically.

I feel you get a nice balance of some new school artists like Local, Solo Jane & Hotch mixed with some UKG generals like MC Neat, Mighty Moe, Preshus, Creed & Troublesome and original “Knightz of the round table” member Luckie Luciano, i always feel a duty to pay homage but i also want to evolve the sound and take it to the next level.

Since march 2020 its been a tuff time for people i feel like there are some hidden messages in the album it leans towards the underdogs of this world and at times i feel like that but there is always this burning desire inside me to want to do better hopefully that comes across for the listener.

Already with a dedicated fan base and support from tastemaking DJs such as DJ EZ, Conducta (Kiwi Records), Toddla T (Radio 1), Heartless Crew (1xtra), Majestic (Kiss), Scott Garcia (kiss), Smokey Bubblin B (Rinse fm), DJ Redhot (Rinse fm), Dj Cartier, DJ Spoony, Artful Dodger, MattJam Lamont (Rinse fm) Shosh (Kiss Fm) Rudekid (Kiss fm) Ricky Chalrie & Melvin (BBC Radio 1) amongst others from the burgeoning UK Garage scene,

The Smasher sound especially in UKG has brought a well needed fresh flava to a genre which has had very few full album offerings, with that said its time to share “Vibes In Motion” with the universe, This will solidify Smasher as an artist in every sense of the word and undoubtedly concrete him as one of the UK’s finest talents.

Cie has been on an exciting musical journey since the foundation of the Form & Terra Records label and the first record "Auf Los" and now delivers further highlights with "Adventures". Together with a remix by Oliver Hess, the record has four driving tracks that will be released exclusively on vinyl.
The “Löwenburg” first appears on the horizon, and the closer you get to it, the more powerful it appears. Arriving at the gates, the lion extends his claws and with his pounding, multi-faceted beat and bubbling, lively sounds pulls every dance-loving clubber into the castle with full force.
Oliver Hess waits here with his musical tools and refines the masonry of the "Löwenburg" with crisp percussions and incredibly driving beats in his inimitable way. With a hammer and chisel, he sharpens the original in his remix and opens up new sound paths to the castle's secret locations.
Through the dark corridors of the castle we get to the "Bergfried", the first track on the B-side. Hypnotic synth runs and pulsating basses demand everything from every wall, no matter how thick, and enjoy testing it for stability.
Finally, it goes deeper into the underground with "Der Stollen". Wherever digging deep, fascinating things come to light in the club night: brilliant flashes of sound briefly sparkle like precious stones, and rattling, tirelessly driving beats ensure that you lose yourself in the depths of the sound of the
„Stollen“. Four exciting tracks that are ready for any club adventure. Vinyl only.

For their 9th release Slam City Jams welcomes the fabulous Manuel Darquart to the family!
After brilliant releases on imprints like Wolf Music or Coastal Haze and recently getting remixed by the Italo-House legend Don Carlos, we are happy to have the duo on the label with their „Down 2 Dance“ EP. Originally from New Zealand but now living in London, Manuel Darquart bless us with a record full of balearic bliss, backed with a dope remix by Tech Support.
We are kicking things off with the title track, a deep, yet uplifting Italo-House tune: „Down 2 Dance“ is full of sweet chords, perfectly cheesy sax stabs and this catchy vocal cuts we just can’t get out of our head. On „Cultivating Yucca“ Manuel Darquart maintains the Italian vibe but
gets even more balearic with warm pads, some muted trumpets and of course: The slight sound of the ocean.
On the flip things get interesting with „Prince Of The Rinse“: Distorted 808s paired with a funky lead that builds up steadily and finally dissolves into a wonderful synth solo. A tune that reminds of the early Funkineven on Apron Records. To round this record off, we invited
Londons finest Tech Support to give the title track his remix treatment: He added his signature 80s sound to the original and perfecftly stripped back the tune to its essentials, with gated snare drums and little synth blips. What more can you ask for?!

Me Da A Onnda by K. Frimpong and his Cubanos Fiesta isclassic and essential Hi-Life & Afro
Funk album from one of the greatest Ghanaian singer and composer, finally reissued for the first time!
This legendary K Fimpong's fantastic rare album was recorded in 1980.
K . Frimpong was born on July 22nd, 1939 at Ofoase in the Ashanti - Akim district and entered right
into music after elementary school by joining "Star de Republic" and later "Oko's band" after which he left
to K. Gyasy's band where he worked for more than 6 years. As a prolific songwriter and singer, here's
the reissue of his amazing album, a modern fusion of Hi- life and Soul.The excellent background is given
by the famous Cubanos Fiesta with members of Vis-A-Vis band.
Originally produced on the major Polydor, this four songs recording is a blend of danceable and
spiritual Soul and straight Hi-Life. A must-have vinyl of percussive Afro Funk for all the music
connoisseurs, K. Frimpong backed by Cubanos Fiesta LP is a true masterpiece, so hard to find and
reaching crazy skills for a decent copy affordable.
Remastered by Frank Merritt at The Carvery. Pressed on Replika format. Fully licensed by the Alhadji
Kwame Frimpong Family

Lailah Reich’s vocal performance is the definition of fineness in execution. Sultry and soulful runs that make your toes curl juxtaposed against pocket production molded around her performance. Lailah’s instrument is subtle yet yearning for the opportunity to illustrate her force in sublime and subtle fashion. It is an honor and privilege to continue the Clairaudience tradition of showcasing the virtuosity of vocal instrumentalists In a nutshell we love what Lailah Reich brings to the mic. Anthony’s discovery of this ingenue remixing her on a project has grown to Lailah being one of his favorite vocalist to record. We Are One is an unconventional and minimalistic approach with haunting chords layered over pocket synth bass creating an abstract and artsy yet groove driven undertone. Certified Sole Therapy from Clairaudience.

Gatefold double LP. Black Vinyl. No DL Code is out in January, 1000 copies available. Since 2006 Maybeshewill have released four full-length albums of towering, cinematic instrumental music. After a decade long career that saw them tour across four continents they bowed out in 2016 with a sold out show at London’s Koko. Having reformed briefly in 2018 at the request of The Cure’s Robert Smith for a show at Meltdown Festival, 2021 sees the band return with their first new material since 2014’s Fair Youth. Having worked on ideas separately in the intervening years, it was the sketches of music that would become ‘No Feeling is Final’ that pulled the band back together. Building on the songs that they felt needed to be heard, together. ‘No Feeling is Final’ was born from a place of weary exasperation. From the knowledge that we’re living in a world hurtling towards self-destruction. We watch as forests burn and seas rise. As the worst tendencies of humanity are championed by those in power; rage, fear, greed and apathy. We see every injustice, every conflict, every catastrophe flash up on our screens. We stay complacent and consume to forget our complicity in the structures and systems that sustain that behaviour. As the world teeters on the edge of disaster, we sigh and keep scrolling, the uneasy feeling in our stomachs eating away at us a little more each day. However easy it would be to switch off and pretend all is lost, there’s no choice but to remain engaged. To set that feeling of hopelessness aside and use the fear and frustration as fuel to make something positive. ‘No Feeling is Final’ is a message of hope and solidarity. It’s a story of growing grassroots movements across the world that are rejecting the doomed futures being sold to us, and imagining new realities based on equality and sustainability. It’s a reckoning with the demons in our histories and a promise to right the wrongs of the past. It’s a plea to take action in shaping the world we leave for future generations. It’s a simple gesture of reassurance to anyone else struggling in these troubled times: “Just keep going. No feeling is final.” Continuing and building on the self-sufficient, do-it-yourself ethos that has been core to their existence, ‘No Feeling is Final’ was once again recorded and produced by bassist Jamie Ward, and released on the bands own Robot Needs Home Collective Label, in collaboration with close friends Wax Bodega (North America), New Noise (Asia) and Birds Robe (Australasia).

It is in Albertine’s own words, “a triumphant refusal to be complicit in a system that ruins us.”

The universality of music can mean different things to different people. For Albertine Sarges – Berlin-based musician and producer – it’s a vessel that she uses for self-exploration and growth, never more so than on her new album The Sticky Fingers, out on Moshi Moshi Records on 27th November.

After numerous collaborative projects, including projects with Colin Self and Holly Herndon, and performing as part of Italian synth-wave duo Itaca, Albertine brings together a new band, the titular Sticky Fingers for their debut LP. The Sticky Fingers has its roots in the south of the German capital – Albertine grew up in Kreuzberg during the fall of the Berlin Wall and records in nearby Neukölln

he 20th milestone release in the Generation Series lineup, this 5-LP abridged set features 82 tracks that play in the first half of Shenmue III, which takes place in Bailu Village. Comes in a top lid box (similar to recent Generation Series releases from Brave Wave) with liner notes, archival artwork and a digital download code for all 196 tracks.

Hungry Shells, the seventeenth entry in RVNG Intl.’s intergenerational collaborations series FRKWYS, brings together vocalist, multi- instrumentalist, and sound artist Ka Baird with avant-garde composer and radical performance art pioneer Pekka Airaksinen. Recorded six months before Pekka’s passing, Hungry Shells alchemizes separate but similar spiritualistic practices, canvassing Baird’s voice and synthesizer rituals and Airaksinen’s lysergic sound explorations into startling, surreal landscapes.

Pekka Airaksinen, who left this realm for another in May 2019, is recognized as a pioneering composer both in and outside his native Finland’s fringe art community. A founding member of the late 60s art and music collective The Sperm, Airaksinen discovered Buddhism in the early 1970s, eventually establishing a number of meditation centers around Finland. Throughout his career Airaksinen embraced a degree of obscurity and anonymity that was inspired by his Buddhist learnings, and afforded him complete creative freedom. As he explained, “The less success you have, the more time there is to develop things.”

Ka Baird, who found her musical footing in Chicago playing in Spires That In The Sunset Rise before moving to New York to pursue her solo career, has developed a practice based in forms of active and engaged embodiment. Inspired by Charlemagne Palestine’s Body Music, Baird’s performances explore physical extremes as a catalyst for charged immediacy and presence. “I’m interested in the

places between precision and something unrestrained,” she told The Wire in 2019. Drawing on minimalism’s ecstatic deployment of duration and endurance, her recordings explore the outer limit sounds of her voice and its synthesis with developing music technology.

Airaksinen and Baird convened in Utrecht in the fall of 2018 to write, rehearse, and record Hungry Shells ahead of a performance at the Dutch festival institution Le Guess Who? Sessions took place between contemplative walks along the city’s medieval canals, and, for Airaksinen, lengthy meditations in his hotel room. Early on in the trip, Pekka shared ODO with Ka, a collection of Buddhist parables that he divinely received while meditating. After translating several of these texts from Finnish to English the duo used them as text for the album, and a sort of psychic foundation.

One of three MONSTER New Orleans Funk 45s released by Soul Jazz Records only ever exclusive available on their site on LONG out of print, these new 45s are limited edition pristine, loud dancefloor fillers housed in Soul Jazz recycled card house bag!

Surely one of the TUFFEST New Orleans Funk tunes ever made! The intensity of Marilyn Barbarin’s vocals are only matched by the super-tightness of Eddie Bo’s Soul Finders that accompany her – superb New Orleans wah-wah funk, locked in and in the pocket! A SUPERB Eddie Bo production, with original copies starting at £500!

Flip Finesse Records brings you the first instalment of the label's vinyl series from label owner, Funkytino. A minimal EP with a touch of garage flavours and a gorgeous remix from NinetyOne. The diverse range of tracks and silky smooth vocals make this release perfect for your summer listening as well as for the dancefloors.

In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days.

Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki.

Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again.

Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma).

The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974.
“I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” (Jérôme "Kalcha" Simonneau)