Search:the head

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Rostøm, Tauceti and Kaiser go full pressure on Carne, four cuts of relentless, stripped-to-the-bone techno built for concrete floors and red-lined systems. No gimmicks, just drive, warped signals and brute force groove. Anothr World 02 is peak-time weaponry for the real heads.

A chopped-and-screwed love letter to the sounds of rebajada – half-speed cumbia, pioneered by Sonido Dueñez in the 1990s, and born from an overheated turntable motor that didn’t make the crowd stop dancing. With Debit’s treatment, rebajada becomes an ethereal, at times intense ambient tapestry that’s also a history lesson.

Spend any amount of time pacing the streets of Monterrey, the bustling city in the north of Mexico where Delia Beatriz, aka Debit, grew up, and you’ll be sure to catch traces of cumbia echoing from Bluetooth speakers, DIY soundsystems, or car stereos. An Afro-Latin dance form and »practica cultural« originating in Colombia in the early 19th century, cumbia evolved rapidly in the early 1900s, as a localised sound played on drums and flutes quickly modernised to integrate European instrumentation like the accordion. When it reached Mexico in the 1940s, the sound shifted again, fusing with mariachi styles and integrating further vallenato folk elements. Eventually, cumbia spread across the entirety of Latin America, splintering into a spectrum of different musical styles such as chicha in Peru, and cumbia villera in Argentina. And over in Monterrey, cumbia inadvertently found its own idiosyncratic groove.

From the 1950s to the 1970s, waves of immigrants from across Mexico and Latin America headed to Monterrey to find work, making a home in Colonia Independencia. Colombian cumbia records, shipped in from Mexico City, Houston, and Miami, became the soundtrack of the neighbourhood, relaying familiar stories to a rural working class adjusting to their new industrial reality. The sound struck a chord with locals, and huge street parties hosted by ramshackle soundsystems known as sonideros unified the diverse community. So when cumbia rebajada materialised serendipitously in the 1990s, it emphasised and highlighted the memory distortions at the heart of the immigrant experience. Local record collector, selector, and sonidero Gabriel Dueñez had been playing cumbia for hours one night when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan, with half-speed voices echoing over wobbly accordion drones and splashy drums. But the crowd kept dancing, and Sonido Dueñez realised he’d struck gold – cumbia rebajada was born.

Over the next few years, he dubbed a popular series of mixtapes, hawking them at the flea market on the dried-up Santa Catarina riverbed beneath El Puente del Papa, the bridge that links downtown Monterrey with Independencia. These woozy archives became the stuff of legend, poetically but subconsciously shadowing DJ Screw’s series of epochal cassettes that appeared over the border in Houston. Beatriz uses Sonido Dueñez’s first two tapes as the starting point for »Desaceleradas«, entering into a dialogue with time, culture, and geography as she recalls the sonic ecosystem that surrounded her decades ago, long before she emigrated to the USA. If 2022’s acclaimed »The Long Count« was an attempt to recover concealed pre-Columbian history in the face of colonisation, »Desaceleradas« jumps forward, figuring out how memory and shared celebration can resist a more contemporary form of cultural erasure. As AI systems scrape, blend, and decontextualise culture around us, leaving vapid slop, »Desaceleradas« proposes a slower, more careful, and ultimately more human kind of engagement. It’s an archive with a pulse.

The new 012 series opens with “Waveform Studies”, a project that brings together fresh talents on the platform, merging their visions of bleep and hypnotic techno through an interplay of deep and raw frequencies. To launch the EP, label head Claudio PRC sets the tone with “Pulse”, a deep and immersive techno journey, followed by the haunting and mesmerizing soundscapes of “Vacuum” by French DJ and producer Eman. Next, Italian artist Riccardo De Polo contributes “Aseptic”, a raw, hypnotic, and minimalistic techno banger, which seamlessly leads into the spacey and dreamy textures of “Voluta” by Venezuelan-born, Berlin-based DJ and producer Isabel Soto. Finally, emerging artist Leo Cologna closes the release with “Sinus”, a digital bonus that fully embodies the spirit of this compilation. The graphic design and visual aesthetics is curated by the Berlin artist Medas, adopting the light drawing technique, reflecting the rigor and abstraction of the sound and emphasizing the essence of the musical content.

All tracks are written and produced by the respective artists. Artwork by Medas. Mastered at Incidence Studio.

Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the 70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added 2 more tracks to the original 10 track album tape - the vocal & dub cuts to Johnny Clarke's "I'll Never Fall in Love Again", one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior. Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021). 'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece. RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird. This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…" Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine. Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual. 'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025. The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'. TRACKLIST: 01: Clean Up (EP Mix) 02: Go Get Your Money 03: Beretta (feat. Lucey Way) 04: Things 05: Rolling 06: Go Get Your Money (B-Sharp Mix) Deconstructed Mixes

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

DJ Honesty returns on Syncrophone and drops tight techno / house cuts, flipped hard by Satoshi Tomiie on the remix. Pure underground heat, wired for the floor and the heads.

Die Benefiz-Compilation "Passages: Artists in Solidarity with Immigrants, Refugees, and Asylum Seekers", mit einer unglaublichen Auswahl an Künstlern wie Alan Sparhawk, Oneohtrix Point Never (Daniel Lopatin), Benjamin Booker, Lambchop, Marisa Anderson, Lonnie Holley, Bonnie Prince Billy, Dirty Projectors, William Tyler, Tim Heidecker und vielen anderen, wurde zusammengestellt von dem genialen Musiker und Musikvideo-Regisseur Rick Alverson und Emilie Rex von Lean Year. "Passages..." enthält intime, verletzliche Songs, die alle an einem Ort der Zuflucht und Sicherheit geschrieben, aufgenommen und geteilt wurden: einem Ort, der sich wie ein Zuhause anfühlt. "Wir hoffen, dass du ,Passages" an einem Ort hören kannst, der sich wie dein Zuhause anfühlt - wo du dich wohlfühlst, sicher bist und dich frei bewegen kannst. Die Künstler haben diese Songs aus Dankbarkeit für diesen Ort und zu seinem Schutz geschrieben und aufgenommen. Unser Zuhause, wie wir es kennen, ist in Gefahr. Einwanderer, Flüchtlinge und Asylsuchende, die ihr Recht auf sichere Durchreise einfordern, verteidigen unseren Zugang zu genau diesem Recht. Zu den vielen Organisationen, die sich solidarisch mit ihnen einsetzen, gehören zwei in Texas ansässige gemeinnützige Organisationen namens American Gateways und Casa Marianella. Mit über 70 Jahren gemeinsamer Erfahrung bieten diese Organisationen kostenlose oder kostengünstige Rechtsberatung, Lebensmittel, Unterkunft, Zugang zu Gesundheitsversorgung und andere wichtige Dienstleistungen an. Zusätzlich zu den großzügigen Beiträgen der Künstler wurden alle Arbeitskosten - Produktion, Abmischung, Mastering, Design und Werbung - sowie die Herstellungskosten für die Platte gespendet oder separat gesammelt, um sicherzustellen, dass alle Einnahmen der wichtigen Arbeit von American Gateways und Casa Marianella zugutekommen. ,Passages" ist sowohl eine Anerkennung der laufenden Arbeit als auch eine Einladung, noch mehr zu tun. Unsere Vertreter müssen uns sehen. Unsere Familien müssen von uns hören. Unsere Nachbarn und lokalen Organisationen, die an vorderster Front dieser Krise stehen, sind bereit, uns aufzunehmen."

Limited to 250 copies !

The Deadheads had never had much luck with spaceships. Their first mission had ended in a catastrophic engine failure, leaving them adrift in deep space for weeks. This time, their craft was hardly more reassuring. A hodgepodge of outdated technology and shoddy repairs made it more of a floating death trap than a reliable cruiser. As they began their descent toward the strange planet, the hull creaked and rattled, sending a wave of dread through the crew.

"Hold on," Matt's voice crackled over the intercom, without much conviction, as if he himself doubted they would make it out alive. Outside, a thick, grayish atmosphere swirled ominously, while the planet's gravity became far stronger than anticipated.

“Fuck, we’re gonna burn at the entrance!” M yelled, his hands flailing on the console as sparks flew from the control panel. The ship’s sensors were completely jammed, and the navigation system flickered intermittently, like a dying light. Below, the planet’s surface was a tangle of lava rivers and jagged rock formations, the kind of place no sane person would ever land. But the Deadheads had never pretended to be. They lived in a state of constant emergency.

As the descent intensified, the alarms blared. On the bridge, the screens lit up with red warnings and flashing messages: "SYSTEM ERROR," "UNSTABLE TRAJECTORY," "SUIVITY SYSTEM COMPROMISED." The lines of code scrolled by too quickly to be read, while a mechanical voice repeated relentlessly: "Imminent impact. Structural integrity at twenty percent."

The once pristine shell of the vessel began to disintegrate, with shards of metal breaking away and disappearing into the atmosphere.

With a final, piercing screech, the ship crashed onto the planet's surface, sending up a cloud of dust and debris. The crew was violently thrown from their seats, stunned but barely alive. They struggled to their feet amidst the wreckage, the ship reduced to a charred shell around them.

"Well," M said, wiping the dirt off his suit with a grimace, "at least the air is breathable." Matt scanned the hostile expanse stretching before them and smiled slightly. "Perfect. Let's hope we have better luck with the planet than with our ships."

With that, the Deadheads gathered their equipment and headed into the unknown, while the remains of their ship slowly sank into the unstable soil of the planet.

The combination of Todd Terry and Hard Times is synonymous in the world of House Music. The legendary DJ/Producer, a true pioneer of the genre, was among the first US artists to play at the intimate, vibrant gatherings in the North of the UK in the early ‘90s. Forever linked by "A Night In The Life," the live mix released in 1995 that set a new benchmark for mix-tapes, it is a collaboration that has continually blossomed, forging a bond that remains strong over 30 years later.

1995 also saw Todd Terry make his first impact on the label with the seminal club smash "Bounce To The Beat." Following his chart breakthrough with 'Can You Party’ in ‘88, the legendary 'The Unreleased Project’ series, which spawned club hits such as “Jumpin’”, and just a few months ahead of topping the charts with his remix of Everything But The Girl’s ‘Missing’, label boss Steve Raine seized the perfect moment to bring his friend on
board at Hard Times Records with the signing of Bounce To The Beat. "I can still remember pressing play, hearing those beats for the very first time and thinking we had big track on our hands" says Raine. "It was our second release on the label, but it would be the track that firmly placed us at the forefront of the scene, both here in the UK and globally."

Hard Times & Todd Terry now revive 'Bounce To The Beat' with a 2024 reimagining, featuring two of house music’s most exciting young stars, delivering two powerful remixes that promise to dominate dancefloors this summer and beyond.

Dutch producer and Up The Stuss label head, Chris Stussy, takes the track on a '90s- inspired journey, blending progressive strings, high-energy bassline and original vocal, for an exhilarating ride. "I remember discovering Todd’s productions back in the days when I started to dig for that 90’s sound. He’s one of the artists that inspired me massively. He has proven that he owns the art of making timeless music as his productions are still being played till this day all across the globe. To be remixing ‘Bounce To The Beat’ is something special for me personally and I tried to give it a 90’s touch with a modern twist." says Chris.

London’s own Dan Shake offers a fresh twist with a 2Step-inspired remix, featuring an Armand-esque bassline that pulsates and evolves, building to an epic crescendo that is set to ignite mass hysteria on the dancefloor.

"Bounce To The Beat was actually one of the first records I bought when I started collecting house music. So to come back 15 years later and remix this iconic track for the legendary label Hard Times was both surreal and very, very fun," shares Dan.

Two exemplary reworks of Todd Terry presents Sound Design’s 'Bounce To The Beat'. For Vinyl and Digital release on Hard Times alongside the Original and ‘Tee’s Freeze Mix.’

PRESTO (MUKATSUKU, GROOVIA, CONCRETE GROOVES, is back from the (beat) lab with this new 10 track instrumental album. This beat tape was mixed while living in NYC and is a tribute to 90s hip hop with a blend of jazz and soul. 2 tracks were previously released on a 7" from MUKATSUKU. For fans of “MUSHROOM JAZZ”-styled downtempo. These are some serious head nodders, ‘nuff said. Pressed on limited edition blue vinyl. Full pic sleeve.

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

With WHERE IS MY HEAD?, his first full-length album since 2019, Indonesian-born artist Rich Brian redefines success on his own terms. No longer chasing hits, he turns inward — creating the most vulnerable and honest music of his career. The result is a cohesive, deeply personal body of work that strengthens his bond with an ever-growing fanbase. Brian handled most of the production himself, shaping an analog-forward sound rooted in his self-taught mastery of synthesizers and keyboards. He sings more than ever before, with a newfound confidence and maturity that signals real artistic growth. WHERE IS MY HEAD? isn’t just a return — it’s a revelation. Each track answers one central question: how can I make art that truly makes me happy? To visually explore this feeling of self-reflection, the album introduces two versions of Brian — a MAESTRO who scores music for the dreams of MOVIE BRIAN, who exists unaware inside the world the Maestro has created. This surreal, introspective concept is brought to life through a series of cinematic music videos and visualizers, all directed by Jared Hogan, expanding the depth of the album into a fully realized narrative world.

Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof Casino Royale.

The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry.

This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time.

Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date.

This special 2xlp is a limited edition pressed on 180-gram black vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis

‘Pilot’ is the debut album from London quintet Miniseries. Channelling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread.

Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub – a musical nexus where burgeoning indie and Americana scenes collide – where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock, with their first single being an eight-minute jam called "Road".

When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland – one of the world's most breathtaking and idiosyncratic studio locations, adding unquantifiable magic to the proceedings.

For the closing track "May You Always", they headed to another studio imbued with tangible inspiration: Blueprint Studio in Salford with producer Craig Potter (Elbow) at the helm. For the song, Dermot drew cinematic inspiration from the Withnail & I line "I'll never play The Dane", the song is about realising that the things you aspired to in youth will never come to pass and being at peace with that realisation.

The recurring themes of youth and ageing are apparent in the resplendent lead track ‘You're Gold’ – a heartfelt call for young people to reject materialism and exploitative influencer culture in search of life's deeper meaning, with stylistic nods to The Pixies and early Stereolab.

On the opposite end of the spectrum, "Sepia" explores old age and fading memories through dementia, where the ending descends into chaos like a fragmenting mind. Elements of "Sepia" are foreshadowed in the album's opening track, the instrumental "Pilot Theme", which pays homage to TV theme music, invoking spy thrillers or perhaps something otherworldly from science fiction.

“Offcumdens” is a Calder Valley, Yorkshire term for people who live in the area but come from somewhere else. Hailing from Bury, Lancashire, Morch wrote the song while living in Hebden Bridge (and watching too much Happy Valley) and found himself being an offcumden. It’s a pop at the kind of local nativism which breeds intolerance and an illustration of the sinister rise of wider political populism.

Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless. As singer Doug Morch says, "It's the Miniseries Pilot episode. Like the TV episode a studio makes to test whether it's viable.” In the age of streaming and box-sets, this is an album to truly binge on. We can’t wait to hear what happens next.

Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع Sama'a (Audition) is the first of two releases that will surface after أحمدAhmed’s first studio recording sessions at North London’s The Fish Factory in early 2025.

Since 2014, Ahmed أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opportunity to set up in the studio for the first time and, with the aid of meticulous engineer Benedic Lamdin, سماع Sama'a (Audition) is the quartet's most detailed work to date.

Fastidious fans may recognise the album's tracklisting as that of Ahmed Abdul-Malik’s Jazz Sahara. After his success collaborating with the pianists Thelonious Monk and Randy Weston, Jazz Sahara was the first record Abdul-Malik made as a leader and was released in 1958. It used the flame of late Fifties jazz to light the wick of North African folk music and acted as a reminder of the Arabic origins of jazz, creating a distinct, unique sound that was far beyond its time. In Malik’s Jazz Sahara, there is no piano. The ongoing work of each member of [Ahmed] then is to think differently, to wonder how the music will work and to take a risk on trying it out - an extraordinarily compelling feat of imagination. Using group improvisation strategies and recording in single takes, سماع [Sama'a] (Audition) tackled the full suite of Jazz Sahara in just one session, with ‘Ya Annas [Oh, People’] and ‘Isma'a [Listen’] being previously unrecorded. 'Farah 'Alaiyna’, also released on 2019’s Super Majnoon, sounds unrecognisable - the slow, heady stomp and repeated phrasing of 2019’s embryonic [Ahmed] having been blast furnaced and sped up four-fold. The result is four kaleidoscopic, relative miniatures that move, unfold and re-imagine at a very different scale and proportion than [Ahmed]’s previous records. It’s a dizzying, euphoric music and an extraordinary record of a group moving through space-time like no other.




[b] Isma'a [Listen]
[c] El Haris [Anxious]
[d] Farah 'Alaiyna [Joy Upon Us]


[b] b1 Isma'a [Listen]
[c] c1 El Haris [Anxious]
[d] d1 Farah 'Alaiyna [Joy Upon Us]


[b] b1 | Isma'a [Listen]
[c] c1 | El Haris [Anxious]
[d] d1 | Farah 'Alaiyna [Joy Upon Us]

Belgian producer and DJ Ethan Fawkes returns with Funky Raver, a vibrant six-track vinyl release that channels the spirit of 70s funk and disco through a modern electronic lens. It features three originals alongside remixes from Victor Muerte, A.Fruit and Nite Fleit.

Fawkes, known for pairing raw rhythm with emotional punch, dives headfirst into the golden age of groove and rebuilds it for today's dance floor. The result feels warm and energetic, fresh take that nods to disco's roots while pushing forward.

Each remixer takes the core idea in a new direction without losing its heartbeat.

Victor Muerte takes "Funky Raver" track into a remix out a driving techno rework marked by hypnotic whiper repetition. It taps into the darker side of the groove, building steady pressure and giving the release a powerful late-night edge.

A.Fruit flips her version of "Get the Groove" into a fast, broken beat-driven workout full of tight percussion and futuristic low-end, giving the original a kinetic bass-forward storm that keeps the momentum surging.

Nite Fleit, the producer with a reputation for bold, genre-blending club tracks, injects her remix with electro pressure. She delivers a high-voltage version of "I Misplaced You" to take that turns the funk foundations into pure rave.

Taken together, the originals and remixes trace a full arc, from glittering disco lights to the throb of the warehouse. Funky Raver is a celebration of groove, motion and emotion. A reminder of how timeless dance-floor energy can be.

Limited edition (numbered 100 copies) 180g black vinyl with insert.

"BEN BEKELE does not exist. At least not the one I'm thinking of.


It's a mix of memories and fantasies from the mid-80s when it was my father who visited Ethiopia, returning with two small drums, a couple of pictures and tons of tales.
One of them was a story of a boy named Bekele, who taught him a traditional Ethiopian song.

Father passed this song on to us, as best as he could - now I'm having doubts as to what the message is actually about - but back then I was fascinated. Many years later, when I was preparing a song for a compilation "Portrety" at U Know Me Records, I realized that the bass line that I created resembled a fragment of that exact song. Apparently the melody buried itself somewhere deep in my subconscious and unexpectedly revealed itself at that moment. Therefore I decided to honor the memory of my deceased of 30 years dad (whose friends called him Ben) naming the composition: "The Life and Death of Ben Bekele". The song turned out to be very happy to me - its success definitely exceeded expectations, while in my head an idea to go further after Ben Bekele began to form.

This time I didn't want to work alone. I invited Kamil Piotrowicz and Igor Wiśniewski to cooperate with me. Incredibly creative, sensitive artists and wonderful companions on stage as well as off it. The music on this album is similar to a small extent to the "founding" piece.
It has however a couple of common features, with focus on the rhythm as the form-forming factor at the forefront. It's also organic, emotional, at times trance-like and illustrative.

I sincerely hope that when listening to this record, for these tens of minutes you'll escape from the surrounding us not-so-pleasant everyday life."

ECHOES OF SOUL FEAT. SHELLY NELSON — “MY PEOPLE / THE ONE THING” The debut release from Boogie Back Dance — the new spin-off label of Boogie Back Records — delivers a deep and heartfelt journey through rhythm and soul. “Echoes of Soul” brings together the warmth of classic street soul with the energy of soulful house and the groove of neo boogie.

Side A, “My People,” is a dancefloor statement — a call to unity and movement, blending lush keys, vibrant basslines, and uplifting vocals that honor the spirit of community and togetherness.

Side B, “The One Thing,” dives deeper into the groove — a smooth, late-night cut layered with emotion, subtle percussion, and timeless soul sensibilities. With BBD001, Boogie Back Dance sets the tone for a new era of soulful club music — one rooted in authenticity, crafted for the heads and the heart alike.

2025 Repress

The breakthrough dance collective of the year bar none! Having made a name for themselves creating the evilest drum&bass music the world has ever seen, in recent months Noisia have been seen DJ-ing at house clubs, releasing singles with prominent house labels and most recently remixing for the likes of Robbie Williams! However, it wasn't long before they decided to go back to the dark side and join forces with good friend Mayhem (USA) to come with something more disgusting than ever, oh and they got KRS-One to provide the vocal!

A truly breathtaking intro bursting with evil foreboding sets the scene, before Noisia and Mayhem unleash the darkness with their signature drum programming alongside futuristic never heard before beats and breaks. Be sure to wait for the hip-hopesque interlude that features the immense vocal talents of none other than KRS-One. If you're not nodding your head by that point, you best check your neck isn't broken!

Comes in standard full colour Vision Recordings repress sleeve.

Mandrake Handshake announce new remix version of lead single Hypersonic SuperAsterid from W.H.Lung's Tom Sharkett released 24th November and the Special Limited Eco- Green Vinyl Edition of their critically acclaimed debut LP 'Earth- Sized Worlds', set for release 12th December via cult indie label Tip Top Recordings The concept tying together every last note and lyric of 'Earth- Sized Worlds' - the debut album from the London/ Oxford self- dubbed 'Flowerkraut' collective Mandrake Handshake - is an awfully simple one: 'Welcome to Space Beach' .Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold- out show at London's iconic 100 Club earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and Del Amitri as their profile soars.

Originally released as a digital double a side both lead tracks were chosen by the remixers and the results are like an electrical storm.

Newark, NJ’s Dälek (Will Brooks) drags T. Relly’s growl through the quicksand, a cacophony of whiplashed beats and visceral loops spurring our protagonist on. It’s a gaggle of Ghostface Killas trapped in a hall of mirrors; it’s next door’s MBV heard through the walls whilst submerged in a low-lit bathtub. And Wu Tang are pulling the plug out.

Kevin Martin aka The Bug continues to release teeth rattling sonic masterpieces, his most recent being November’s ‘Implosion’ on his own Pressure label. In his hands ‘Protein’ becomes a submarine bass, head n’ rig wrecker opting here for more of his hooky ‘In Blue’ style Bug mix. As Kevin said – “to my fantastical mind it sounds like Bug dirt ‘n’grind Vs Yin Yang Twins’ louche swagger and Neptunes funk”.

“In Bristol, it was hip-hop and reggae renegades meeting up with white ex-punk guitarists, alternative pop pioneers hanging out with underground roots music makers, and sound system sonic stalwarts grooving out with rave’s space cadets that laid the bedrock for such an explosion. And if you think that such an eclectic melting pot ever went away, you would be wrong. Ree-Vo is all the proof that you need” – The Big Takeover

Repress

R&S proudly presents brand new signing Felix Manuel AKA Djrum.
Djrum is a perennially acclaimed underground artist, since his first release in 2010 who's quietly built a list of fans that reads like a who's who of contemporary dance music.
As an artist, Djrum has formed a reputation for his unique fusion of a range of genres ranging from jazz, hip hop and dubstep to ambient and techno. His music swells with oceanic bass laded beats, cavernous atmospherics and deeply emotive melodies. An accomplished DJ his compositional approach feels like a natural collage of his influences which has seen him release for the likes of the Zenker Brothers Ilian Tape imprint as well as the influential 2nd Drop label, plus remixes for Ninja Tune and Domino.
Felix now steps up to the plate at R&S with one of his most visionary releases to date. Deeply meditative melodies twist and turn through stuttering rhythms and pulsing low bass, hypnotic pads and woozy atmospherics. Manuel's music somehow manages to retains the urgency and dynamic pressure of the dance floor with the intimacy and elegant detailing of the best headphone music.
A natural fit for R&S, there is a full length Djrum album in the pipeline in 2018 - looks like it's going to be an exciting year ahead.

lim. 2025 remastered Reissue!

Thirty years ago, LA producer Aaron Paar realized his dream of launching a label with the debut of Worldship Music, dropping the now cult classic Planet Eater EP in the late summer of 1995. Crafted on his newly acquired SP1200 and refined with mix engineer extraordinaire Greg “Ski” Royal, the record became the label’s very first release and a true vanguard single. Overflowing with the raw swing and deep grooves of classic US house, these tracks still radiate the timeless energy of the mid-90s underground. Now carefully remastered and reissued in a strictly limited edition, Planet Eater EP returns as an essential piece of house history for DJs, collectors, and true heads alike.

Mit Framing Reality veröffentlichen The Livelines aus Osnabrück ihre neue EP - ein musikalisches Coming-of-Age-Tagebuch zwischen Selbstzweifel, Selbstbehauptung und dem Versuch, Kontrolle in einer sich ständig verändernden Welt zu finden. Die sechs Songs zeigen eine junge Band, die ihre Realität selbst in die Hand nimmt: ehrlich, direkt und mit einem Sound, der Pop-Melancholie mit tanzbarer Rock-Energie verbindet.
Nach über 60 Shows, zahlreichen Festivalauftritten, Supporttouren für Acts wie KAFFKIEZ, DAMONA und Hi! Spencer sowie ausverkauften Headline-Shows machen The Livelines klar, dass sie gekommen sind, um gehört zu werden. Framing Reality steht für den Versuch, das eigene Leben zu rahmen - zu entscheiden, wie man gesehen wird, wie man sich selbst sieht und was man aus den Dingen macht, die man nicht ändern kann.

French duo and Get Physical, Rekids and Definitive Recordings regulars Boogie Vice & N-You-Up cook up some silky deep house magic here with the one and only voice of Chicago house past, present and future, Robert Owens. 'Blessing' highlights their creative synergy while Owens' timeless and ever soulful voice delivers a message of gratitude. Nenor's remix adds a sweaty basement house vibe with organic textures but also hazy intensity. These are two tasteful tunes for the real heads who like it super deep.

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

Swan Song

The vinyl LP at the heart of this éthiopiques 31 tracks 2 to 11 was one of the very last vinyl records ever released in Ethiopia. But above all it represents, we felt, the absolute masterpiece of the Ethiopian Groove – the Swan Song of Swinging Addis. The album leaves a clear idea for posterity of the level of sophistication and mastery that modern Ethiopian music had achieved, before being crushed under the Stalino-military heel of the Derg – as the bloody revolution that was unfolding came to be called.

Ethiopia1976.

The Revolution that broke out in February 1974 rolled on in a ruthless march. The whole of Ethiopian society was utterly stunned. The bouquets of flowers handed joyfully to the first tanks of the coup d'état were to wilt very rapidly. From September 1976 to February 1978, 18 months of Red Terror (the name given by the junta itself) spilled blood throughout the country. This fratricidal conflict took its heaviest toll among students and youth. The shift from feudalism to a cruel and primitive Stalinism left the country's citizens deeply traumatised, and snuffed out any pretence of activism, whatever the sector of society. This ice age was to last for seventeen long years.

ሙሉቀን፡መለሰ Mulukèn Mellèssè Muluqän Mälläsä

It was three tracks by Muluken that served as the opener for éthiopiques-1 more than 25 years ago. Seven more tracks appeared on éthiopiques-3 and 13, all accompanied by The Equators, which was soon to become the Dahlak Band.

The first track, Hédètch alu, also the very first piece that Muluken ever recorded, left audiences both unsettled and amazed. Reflecting the singer's extremely young age (he was just 17 at the time), this angelic voice mystified many, who thought they were in fact listening to a feminine voice. He was not yet 22 when he released his last vinyl record in 1976 with Kaifa Records (KF 39LP), one of the very last to be issued in Ethiopia, before the cassette tape became the dominant medium for music distribution – and before the new revolutionary regime put a stop to all independent musical life, via an unspeakable barrage of prohibitions and other persecutions.

Mulu qèn, literally, “A well filled day”. This tender maternal intention wasn't enough to ward off the cruelty of fate. His mother's premature death drove Muluken to leave his native Godjam, in northeast Ethiopia, to live with an uncle in Addis Ababa. Born Muluken Tamer, he took his uncle's last name – Mèllèssè.

The spelling Muluken appeared in his administrative records. Transcription of Amharic to the Latin alphabet, both in Ethiopia and for scholars, gives rise to controversies and quibbles that can never be neatly settled. French allows for a closer approximation of the original pronunciation, thanks to its battery of accent marks, confusing as they may be to anglophones.

Between rather accommodating administrative record-keepers and the various versions that pop up in interviews given by the artist, Muluken's year of birth oscillates between 1953 and 1955…

1954? One thing is certain: the artist's talent made itself known very early indeed, because he got his start in 1966-67, at the age of 13 or 14. Photos from the period attest to his extreme youth. It's a strange sort of initiation for a very young teenager to become a sensation in the heart of Addis's nightlife at the time, Woubé Bèrèha – the Wilds of Woubé. And what's more, in the club of the Queen of the Night, the Godjamé Assègèdètch Alamrèw herself, the very same that was portrayed by Sebhat Guèbrè-Egziabhér in his novel-memoir Les Nuits d’Addis Abeba2… The legendary female club owner who is remembered to this day by the capital's ageing boomers.

Muluken first tried his hand at the drums, before he grabbed the microphone. He emigrated briefly to the Zula Club, across the street from the old Addis Post Office, one of the ground-breaking bars of the burgeoning musical scene, before joining the Second Police Band in 1968, for around three years. He spent a few months with the short-lived Blue Nile Band founded by saxophonist Besrat Tammènè. As the musical scene grew increasingly successful, and pulled slowly but decisively away from its institutional ties, Muluken released his first 45rpm single in February 1972 (Amha Records AE 440). It was included in two LP Ethiopian Hit Parade compilation albums in September of the same year. All in all, Muluken released eight two-track 45s and the same number of original cassette tapes between February 1972 and 1984, the year that he departed for permanent exile in the USA. After converting to Pentecostalism in 1980, Muluken gradually abandoned all secular musical activity. In 1985, at the end of a concert in Philadelphia, he decided to quit concerts and recording for good. Mèlakè Gèbré, the historic bass player from the Walias band who was playing with him that night, recalls that everything appeared so irredeemably diabolical in Muluken's eyes, that it was to be the end of his contribution to Ethiopian Groove.

The end of the story, the beginning of a legend.

Dahlak Band, forgotten by History

Aside from his personal history and vocal talents, it must be remembered that Muluken Mèllèssè was one of the biggest names in the musical innovations that marked the end of the imperial period. These éthiopiques aim to convince those who are just discovering this hidden gem... As for Ethiopians themselves, they are to this day captivated by this singular and atypical figure in the Abyssinian pop landscape – even though he withdrew from public life some 40 years ago. Incorrigible devotees of poetic twists, of more or less hidden meanings, Ethiopians appreciate above all the care Muluken took in choosing his lyrics and the writers who penned them, such as Feqerte Haylou, Alemtsehay Wodajo and, here, Shewalul Mengistu (1944-1977). Love songs, written by women, a far cry from the conventional drivel that pleases sappy sentimentalists.

Muluken is equally acclaimed for his perfectionism when it came to music, the opposite of the overly casual approach that is all too common. He remained a faithful partner of musicians who came from a lineage that borrowed from several inventive and pioneering bands (Venus, Equators, Dahlak). Amongst them were certain artists who began their musical lives with Nersès Nalbandian at the Haile Sellassie Theatre and who come of age in around 1973 – at just the wrong time, you might say. Among them were the pillars Shimèlis Bèyènè (trumpet), Dawit Yifru (keyboards) and Tilayé Gèbrè (sax & flute). Most notably Tilayé Gèbrè, certainly one of the most important musicians, composers and arrangers of his generation, of the end of the imperial era, and of the early years of the Derg.

It was only in 1981 that a miraculous opportunity arose for Tilayé to escape the Stalinist paradise of the dictator Menguistou Haylè-Maryam. Once again it was Amha Eshèté (1946-2021) who provided a solution. The spirited and courageous producer, who had been in exile in Washington since 1975, succeeded, thanks to his incredible perseverence, in bringing the Walias Band to the USA. It was, in fact an extended Walias Band comprising ten musicians3, six of whom chose to slip away after a few concerts and the recording of an LP (The Best of Walias, WRS 100). Tilayé Gèbrè was one of these. He has been living in the USA ever since. There he joined the then-nascent Ethiopian diaspora, which lived largely unto itself, and was making only very modest headway in the American musical market. It seems unfair that Tilayé Gèbrè and the Dahlak Band were not able to benefit earlier from the public recognition that they do deserve.

A similar draining away of the top-rate talents would lead to the reorganization of the major groups of the “Derg Time”. The remaining artists spread themselves around between Ibex Band (renamed Roha Band), Ethio Star Band and a remodeled Walias Band. That spelled the end of the Dahlak Band.

With this record, produced by the essential Ali Abdella Kaifa a.k.a. Ali Tango, we can appreciate everything that the Derg not only destroyed, but also prevented from flourishing. This gem of Ethiopian-style afrobeat came out in 1976 (and, by way of a parenthesis, before the FESTAC 1977 in Lagos, which was attended by an impressive delegation of Ethiopian musicians — although Fela was already personna non grata in his own country). Despite everything that might distinguish this ethio-groove from Fela’s music – no colonial axe to grind, no question of political confrontation with the authorities, no claims to negritude or Africanism for the Ethiopian musicians, and less extrovertion! –, this LP fits beautifully into the saga of intense and electrified soul of the new “African” groove that Fela and Manu Dibango embodied so well from that point onwards.

In restoring this record to its place in the afrobeat epic, it can be seen that, if nothing else, the timeline bestows a legitimate pedigree and a historical primacy to works that had no international impact when they were originally released.

Warning! Masterpiece!

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.

Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.

Staying true to classic sound system tradition, each side pairs the original cut with its own version.

First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !

On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.

Gonzen, uminari or retumbos. Perhaps you've heard these sounds? They're known to occur all over the world and, as one might expect, humans have strained to offer various explanations for these unsettling emissions that materialise unbidden from the sky.

We like to say that we've understood what's happening so that we can move on. Tidy up the loose ends and don't scare the horses. Nothing wrong with that in good measure, but there's something to be said for the Haudenosaunee peoples' explanation. They pointed out that the Great Spirit hasn't finished their work of shaping the earth and is making a fair bit of noise while they're at it.

If you accept that many questions never truly get answered, in fact can or should never truly be answered, you may be able to tune your mind to this collection of lingering sonic detonations. If you accept that the work is ongoing, our labours seldom done, that there's not much point talking about the end of anything, you may be ready to join us. It's not our task to finish it, nor are we free to desist.

The Kolony Gorky label kicks on with a fifth outing and this one is from AHU, who drops a couple of tasty and heady jams on his 'Editz' EP. 'Searchin Equinox' is a late-night cruiser with far-sighted cosmic pads and seductive spoken words that bring to mind classic Ron and Trent jams. 'Mana' is no less cavernous and atmospheric, this time with more bold drums and sci-fi motifs driving about the mix for pure intergalactic escape in the dead of night. A superb pair of timeless cuts.

2LP, 180gm vinyl, “Impex Style” Heavy Duty Outer Sleeve w/Flap, Sealed with Analogue October Records Sticker, Hype Sticker
Abbey Road Half speed master from the original tapes
380 gsm Invercote G Sleeve 300 gsm 12 page insert
4.5/5 RECOMMENDED / Editors Choice in Jazzwise magazine
‘And much as audiophiles will savour the tech achievement of this re-issue, the point is the Kaleidoscope of Rainbows
remains joyous, optimistic music that embraces difference and divergence. It needs celebrating not as a revived fossil but as a timeless artwork. Enjoy. And enjoy again’
RIYL Ian Carr / Nucleus / Weather Report / Clips and Art: https://we.tl/t-PfY9QXSjlt
NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

KEG announce new EP Girders set for release September 2nd on Alcopop! Records/BMG. The band also share the frenzied and whip-smart new single Kids. The band, who have been hotly tipped across the board for 2022, will also play their debut UK headline tour plus festivals which include Green Man, End Of The Road, Latitude and more. Kids strides into the deep lineage of British art-punk songwriting that is both self-referencing and outward-facing - while being consistently innovative. Few singles manage to take aim at both the restaurant chain Itsu and the comedian Michael McIntyre, but KEG somehow pull it off.

Following a widely successful debut single release Heyshaw in the summer of 2021, KEG saw major support from publications such as NME, DIY, Dork, So Young, Clash etc. Leading into their debut EP Assembly, released October 2021, KEG toured with contemporaries such as Squid and Talk Show.

KEG are a seven piece. Albert (vocals), Joel (bass) & Will (synth) grew up together around the seaside Yorkshire town of Bridlington; and like many artists growing up in removed quarters of the country, they shared a yearning to leave. Spreading to different parts of the country after leaving school, they found their bandmates in their respective cities and found one another once again on the southern shores of Brighton.
Frank (guitar), whose background resides mostly in hip-hop, afforded a unique pulse with a guitar sound which is manic, discordant but firm. Jules (guitar) whose songwriting sensibilities come from a love of cadence and craft of beautiful soul ballads, imbued the band with his structured sense of composition. Both Charlie (trombone & shell) and Johnny (drums) come from classically trained Jazz backgrounds.
The announcement will receive digital marketing support and will launch with new tour dates announced (below) with pre-order for presale access available.

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.