Cerca:the heavy

'Banoffee Pies Records' drop their 12th release in the original series with a solo EP from New York based Tristan Arp. With a string of intricate music on the likes of Human Pitch and a recent LP entitled "Suggested Forms", which offers a wider exploration into his work, Tristan's passion for sound design echoes in this record.

All four tracks offer an environment somewhere between a feeling &
a dancefloor with obscure influences in polyrhythmic drum patterns and a clear combination of digital and analogue processing. "Swept Thru" opens proceedings with a spiral of rhythms and heavy percussion leaping in energy throughout, before the spooked out Vox takes control on "Oblique House" with deeper movements in a haunted club tune. The B side opens with the title track "Slip" in a powerful whirlwind arrangement of sub bending sounds before the final colour is added to the palette in "Circling Music'' with emotive jingles in a more retained and patient mood.

You can hear Tristan's other work within the Asa Tone project - a trio group well worth the trip, offering a deep variety of works exploring field recordings taken and formulated in Indonesia beneath a tree canopy deep in the jungle. This same energy and mood spills into this release. Music for feeling. Much love BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

The awesomeness of this record can’t simply be denied and without a doubt, Chained To Oblivion will more than likely be my doom album of the year. I just don’t know how anything can top this. So please, give it a listen and enrich your life with it’s vibrancy" - NEW NOISE.
"Spirit Adrift’s 'Chained to Oblivion' Is An Epic Tale of Doom Metal Redemption" - VICE "This doom metal massif is as heavy as the Himalayas, and the passion involved is second to none." - METAL INJECTION "This is an album that will get people through tough times. You can feel the authenticity, which is a very powerful thing in the days of unending sarcasm and ironic creation" - TOILET OV HELL.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.

Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.

The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.

2019 has sparked a new evolution for the transient broken beats of London’s Itinerant Dubs.
The enigmatic imprint has been running in silo since 2013, providing the final strongholds of the underground with innovative bass aesthetics and an intoxicating electro swarm. In fact, “It’s Magic” opens the A-side with a cold, bruising cut of metallic percussion wrapped around lonesome, dystopian bleeps and form-shifting synths. Minimised and stripped-back to its core functions, guided by bold infusions of breaks. “Oh She Dance” is the duo’s most playful construction yet, mashing up a loose jungle flow with more rigid breakbeat science to form a deathly machine-gun of sonics. Bullets keep spraying across “Salsa On Mars” - a raucous, percussion-heavy slice of dubbed-out house - albeit with a moodier, more introspective groove that takes its ammunition from London’s inimitable jazz arsenal.

Rhyze were a funk disco band who recorded their debut album in New York and released on Sam Records in 1980. This reissue features highlights such as the fantastic title track ‘Just How Sweet Is Your Love’ (which charted in both the US R&B and Dance chart) plus the single ‘Free’ and two B Sides ‘Singing and Dancing’ and ‘I Found Love
In You’ This classic is presented on 180g heavyweight black vinyl with original artwork and printed inner sleeve.

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

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

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

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

Tripeo raises a voice for change on his new album “Green Is the New Red“ (BASLP03). “The great thing about (electronic) music is that it’s the most universal art form there is“, says the Dutch producer. “It transcends lingual and cultural barriers more than any other cultural expression and can be a catalyst for change.“

The sound of the coming revolution is manifold: Starting off with A1 “Hope in the Dark“, a soft melody unfolds. B2 “Shifting the Overtone Window“ stands out as the most bass-heavy track, with techno as its musical blueprint. Further into the album, C3 “Fridays For Future“, the artist openly states his sympathy with the global youth movement. His vision for the protest is lo-fi in sound and courageous in mood.

Never angry, this album creates urgency without uttering a word.

Utheo debuts on Lyskestrekk with a heavy oriental inspired groove on the A side and a mystical mountain vibe on the flip.

2020 Split release with contributions by ELEH and NYZ.

ELEH: This side is possibly the artist's most complicated electronic composition. It navigates myriad timbral, tuning and temporal processes while winding itself to completion. It was composed/constructed over a period of months in early 2019.

NYZ: Two crunchy microtonal drone meditations in mono, using techniques of digital FM and hybrid analogue/digital modular synthesis. FM60P::fbk1#03 is from a number of sessions recorded on my very battered SY99 recorded from 2013 to 2014. As the name suggests, this particular session revolved around using feedback in the FM algorithm. EML DRNPi was recorded as part of the 2015 Plum Island Sessions where I had a host of synths on loan from John Brien at Important Records. For this recording I used the EML ElectroComp 101 and my own 4 voice digital microtonal oscillator running a Lambdoma Matrix to make a hybrid analogue/digital system.

This split release between ELEH and NYZ (David Burraston) is packaged in a heavy duty sleeve printed on both sides of the packaging and utilizing metallic inks. This is a first edition of 500 copies and a brand new full length from NYZ is being released at the same time via Important Records.

After the successful first volume of their split collection, Lucretio
and Marieu a.k.a. The Analogue Cops come back on Memento with a
breathtaking four tracks E.P..
Lucretio delivers two cuts written and produced with the extraordinary
Kyma workstation: “Ghetto Stab” is an heavy DanceMania influenced
party banger while “Any Idea” is a deep techno journey into the realms of spectral manipulation.
Marieu brings in all the hardware horsepower romanticism with “Tab and Rub” and “The Restored Text”; the first being acid excursion into the memories of the earl From days, the second interpolating massive kick drums and saturated harmonics with frantic vocal samples.
A record not to be missed!

Supported by: Rhadoo, Ame (Kristian), Dj Ralf, Marco Faraone, Arnaud Le Texier, Ilario Alicante, The Wasp, Shlomi Aber, Richie Hawtin, Joseph Capriati, Maceo Plex, Marco Carola, Francesco Farfa..

FFF continues on his rich run of form with a heavy double hitter on Foxy Jangle - classic jungle signatures meet cutting-edge production precision across both tracks.

"No Ice Cream" fuses rare groove, ragga and neo-classic jungle rhythms, the resulting roller a molotov cocktail of club-ready jungle for the big soundsystems and low-slung, sweaty basements.

"Backstreet Dub" is an altogether smokier affair than the flip. Pulsating UK hardcore DNA meets dub sensibilities and DnB breaksmanship, creating a strong-armed sonic journey littered with emblems of soundsystem culture.

All tracks by FFF
Lacquer cut by Shane @ Finyl Tweak
Mastering by Bob Macc @ Subvert Central
Artwork by CISTO
Additional graphic design by Yorobi

Take two monster tracks and apply the ‘Heavy Disco’ ethos to them. Then get on the dance floor and let the music take control. Remember – Heavy Makes You Happy.

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

As peaktime rollers go this little limited edition hand stamped number is about to take the crown as the flushest of them all.

A thumping beat, a heavyweight bassline and a vocal that’s got more sass than you can shake a stack of dollar bills at.

It’s big, bad and about to storm every club with a sound system heavy enough to handle it.

Very limited Handstamped, one sided vinyl biz that’s bang on the money.

Self proclaimed "DJ from the sticks in Ireland", Ceili breathes diabolical energy to unforgiving imprint, Techno Is The Devil's Music. Following his "Rough n Ready" release on Obscuur, and a heap of killer sets - many at Techno institution, Jaded - Ceili's discerning ear, honed skills and sense of self shine through in this release. TITDM02 blends hardcore club vibes with melodic, euphoric elements for a sound that's heavy-hitting, yet fresh and exciting.

TITDM002 drops March 13th, via Techno Is The Devil's Music. Frantic opener, "Stern Morning Shake", is a transcendental thumper - booting off hard with an ethereal overlay, note Ceili's tempting dancers into a trance whirlpool. "Straight Off The Plane" offers tripped out acid lines upon ominous rolling thunder. On the flip, "2000 and Ded" goes far beyond the rabbit hole. Rounding out the EP, "Time Is No More" is hard hitting, with little room for respite despite Ceili's mesmerising, robotic interludes. Strobes, dark corners, incentive to dance - TITDM02 is for the ravers.

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

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

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

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

Bastard Jazz is proud to present the sophmore solo album by one of the gems of the New Zealand underground soul scene, Isaac Aesili. Woven through electronic soul, with threads of jazz, funk, R&B and house music, Isaac's 'Hidden Truths' is the stylistic unification of all his previous projects (Karl Marx, Funkommunity, Sorceress) into a dazzling and diverse body of work. Three years in the making, its depth is clear from the first listen, and is peppered with some of New Zealand's finest soul and jazz musical talent, including two stunning female feature vocalists from New Zealand; Ladi6 and Rachel Fraser.

The album opens with an ominous instrumental 'Mirror' setting a dark a tone for the album the start, shimmering with shades of Dilla swing snapping over metallic chords and a graceful trumpet solo that enters midway through. Wild feat. Ladi6' is a heavy downbeat future soul joint with stratospheric synths layered over driving beats that build alongside the elegant vocal weavings of New Zealand's first lady of soul, Ladi6, while 'Player' sees Isaac's unique vocals tell a tale of dangerous seduction within a synth funk-driven dancehall cum house music that feels like the Gap Band on a tropical vacation. 'Jungles' is a deep, native and ocean-like soundscape that begins with syncopated synths and beats that collide dramatically into a frantic, sweeping synth outro, followed up by'Realms' , an intricately crafted song that has sonic elements from techno-house that are other-worldly accompanied by live drums that flip after the breakdown into a swinging conclusion of the album's first half.

'Run Every Way' is an epic percussion-driven electronic blues that begins with a vocal chorus from Isaac that could just as easily be interpreted lyrically as a warning about climate change as it could an expression of the inner-self, while "Refugee" is also a heavily percussion orientated joint that fuses romantic classical strings with otherworldly synth stabs and Isaac's haunting vocals moving climactically into a tender coda conclusion. "Rain Gods" feat. Rachel Fraser is a heavenly pathway into Rachel's luxurious vocals with clever lyrics merging the soaring synths and looped bassline into a short yet memorable chorus'and 'Steps' is classic Isaac Aesili production including deep Rhodes chord changes, a knocking beat with layers of percussion, synths and horns providing a warm emotive accompaniment to Isaac's vocals. 'Last Minute' is a simple yet sophisticated jewel of space and time that concludes the vocal tracks of the album in a proper soulful style, and 'Maureen' rounds out the album as an expressive instrumental outrolude that features Isaac's trumpet.

Isaac Aesili is an Internationally acclaimed solo artist and the producer and creative force behind Funkommunity, Sorceress and Karlmarx. Isaac's original productions have been supported internationally by DJs such as Gilles Peterson (BBC Radio 6 Music), Benji B (BBC 1), and Lefto (Belgium, Worldwide FM). His trumpet playing features on many collaborations including 'Layer' by Julien Dyne (Wonderful Noise/BBE) and 'Midnight in Peckham' by Chaos in the CBD (Rhythm Section). A world-renowned musician on both trumpet and percussion, Isaac is a member of the Lord Echo band. His music fuses Soul, Funk, Jazz, Afro and Latin styles with R&B, Hip Hop and Electronic music. Isaac's much anticipated sophomore solo album "Hidden Truths" is out on Bastard Jazz (NYC) in 2020.

DJ Cash Money was one of the most skilled DJ’s to come out of Philadelphia in the 1980s (two time World DJ mixing champion). He teamed up with MC Marvelous in the late 80s to release their only album ‘Where’s The Party At?’, on Sleeping Bag Records. Highlights include; ’The Mighty Hard Rocker’, ‘Play It Kool’, ‘Ugly People Be Quiet’ (which samples Tears For Fears) 1988 album from the golden age of Hip hop, reissued with original artwork, printed inner sleeve and pressed on 180g heavyweight vinyl

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory for his second instalment of the "Snips Edits" series. This time cleverly turning a handful of Hip Hop classics into club ready anthems over Snips' original productions.

1970s Detroit American funk-soul group signed to Invictus, part of the legendary HDH label group (HollandDozier- Holland), who helped define the iconic Motown sound. Highlights include 1971 single ‘She’s Not Just Another Woman’ which was picked up by radio stations and
reached #11 in the US Billboard charts. This was followed up by ‘You’ve Got To Crawl (Before You Walk) #28 in US Billboard chart. In 1972 ‘Enny Meeny-Miny-Mo’ reached #29 in the R&B charts and ‘I’m Worried’ was released as a solo single with Northern Soul legend Melvin Davis. Plus the Mick Jagger covered ‘Too Many Cooks (Spoil the Soup)’ Reissued with original artwork, printed inner sleeve and pressed on 180g heavyweight vinyl

New Jersey group’s debut album released on Brunswick Records, 1980 soul and disco classic. Includes the club classic ‘I Like What You’re Doing To Me’, which helped the band secure a contract with
Brunswick. When released the single reputedly sold over 250,000 in the US alone, yet never made the R&B or pop charts there. When released in the UK, charted to number 20 in Nov 1980. Reissued with original artwork, printed inner sleeve and pressed on 180g heavyweight vinyl

The first collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2006, Under The Covers Vol. 1 finds the duo celebrating their mutual love of song writing from the ‘60s across 17 cover versions from the era. Highlights include a fan-favourite version of ‘Different Drum’, ‘Cinnamon Girl’ and ‘Sunday Morning’. Pressed on two heavyweight 180g silver vinyl.

The second collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2009, on Under The Covers Vol. 2 the duo cover 26 of their favourite tracks from the 1970s. For this edition in the series, Sweet and Hoffs invited guests into the studio including Lindsey Buckingham on ‘Second Hand News’, Dhani Harrison on a cover of his father’s ‘Beware Of Darkness and Steve Howe reprising his guitar parts on a version of the Yes track ‘I’ve Seen All Good People’ Pressed on two heavyweight 180g green vinyl.

Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould. After the resounding success of their debut album Copper Blue, Sugar followed up with the Beaster EP in 1993. Unlike the pop sound of their previous release, Beaster found the group experimenting with a much darker, heavier sound. Highlights include ‘Tilted’ which Stereogum hailed as “possibly the best song in Mould's entire catalogue” and the epic ‘JC Auto’ described by Pitchfork as ranking with ‘anything on In Utero in
terms of sheer force’. The EP became the group’s highest charting release when it reached #3 in the UK album charts in April 1993.
For the first time, the EP is presented on heavyweight 180g clear vinyl.

Fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould, Sugar burst on to alternative rock scene in 1992 with their debut album Copper Blue. Includes the singles ‘If I Can’t Change Your Mind’, ‘Changes’ and ‘Helpless’ along with fan favourites such as ‘Hoover Dam’ Along with reaching the top ten in the UK albums chart, Copper Blue was voted the ‘1992 Album Of The Year’ by the NME and has continued to receive acclaim and a cult following almost three decades later.
For the first time, the album is presented on heavyweight 180g clear vinyl.

Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould. Recorded at the legendary First Avenue in Minneapolis, November 1994, The Joke Is Always On Us, Sometimes captures Sugar during their ‘File Under: Easy Listening’ tour. Includes live renditions of classic tracks including ‘If I Can’t Change Your Mind’, ‘Hoover Dam’ and ‘The Slim’. For the first time, the album is presented on heavyweight 180g clear vinyl.

Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould. Released in 1994, File Under: Easy Listening is the group’s second and final full length studio album. Includes the singles ‘Gee Angel’, ‘Your Favourite Thing’ and ‘Believe What You’re Saying’. Following on from their successful debut release Copper Blue and critically acclaimed EP Beaster, ‘FU:EL’ found the group continuing to experiment with dark textures and pop melodies.
The album became Sugar’s third top ten release in the UK album charts and continues to draw a cult following today. For the first time, the album is presented on heavyweight 180g clear vinyl.

Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould. First released in 1995, Besides is a collection of B-sides, remixes and live versions. Highlights include a live rendition of ‘JC Auto’, the rare studio recording of ‘Clownmaster’ and a cover of the Who’s ‘Armenia City in the Sky’. Issued on heavyweight 180g clear vinyl for the first time.

Zurich based Active Life Worldwide is bringing you four certified house bangers approved by dancers across the globe.

DJ Sommer s The Lost Tapes Vol.3 demonstrates the ferocity of the labels output with four heavy floor bombs.

Active Life Worldwide prove that house music is alive and well and ensure the heat will remain at a maximum and the records will come out boiling.

The fourth solo album from Hüsker Dü and Sugar vocalist and guitarist, Bob Mould. Reissued on vinyl for the very first time. Housed in a reverse-board sleeve and pressed on two heavyweight 180g clear vinyl. On this release, Mould continued to develop the driving alternative rock sound he had become known for as well as experimenting with sample heavy electronica which feature heavily on his future solo albums. Includes the double A-side single ‘Classifieds’ / ‘Moving Truck’.

Detroit blue-eyed soul from The Flaming Ember, a band who signed to the then newly created Hot Wax Records (founded by the prolific hit making Motown team Holland Dozier Holland) Sunshine is the bands third Hot Wax LP with highlights including ‘I’m Not My Brothers Keeper’ to ‘1200 Miles From Heave’. Recognised for their contribution to music and inducted into the Rockabilly Hall of Fame in 1999
This 1971 album is reissued with original artwork presented in a gatefold sleeve and preseed on 180g heavyweight black vinyl with printed inner sleeve

Silver Age is the critically acclaimed tenth album from Hüsker Dü and Sugar vocalist and guitarist, Bob Mould. The album was a return to the alternative rock sound which Mould had perfected over his career, featuring his distinctive pop melodies and scorching guitar sounds.
“Silver Age's bounty of direct, distorto-pop hits measures up to Mould's gold standard” - Pitchfork. Pressed on heavyweight 180g silver-coloured vinyl for the first time

Eloise Laws is the Texan born singer who began recording for Holland Dozier Holland, releasing several singles before singing her to their Invictus label. This 1977 soul album is produced by Brian Holland. He describes her as bringing ‘fire, raw sprit’ to the recording session and ‘destined to be a major force in the music universe’ Highlights from the album include ‘Love Goes Deeper Than That’ and the title track
Reissued with original artwork with printed inner sleeve and pressed on 180g heavyweight classic black vinyl

The self-titled 1996 studio album from Hüsker Dü and Sugar vocalist and guitarist, Bob Mould. Reissued on vinyl for the very first time. Housed in a reverse-board sleeve and pressed on heavyweight 180g clear vinyl. Recorded and mixed after the break up of Sugar, Mould moved away from a band approach and played every instrument on the album himself. Includes the singles ‘Egøverride’ and ‘Fort Knox,
King Solomon’.

Noah Gibson marks his first appearance on North Electronics with an EP of plaintive meditations on his innermost causes and conflicts. Acidic enthusiasm spirals out of control in innumerable ways across 'Press On,' routing us through the reflective atmosphere that hangs heavy in the background of the thrilling adrenal spikes.

Following up on their explosive and critically acclaimed debut album Free To Believe (2015, Do Right Music), Canada's premiere deep funk outfit The Soul Motivators are back with their sophomore album Do The Damn Thing. The 9-track album delivers a heavy dose of the band's signature funk sound, incorporating the soulful sensibilities of lead vocalist Shahi Teruko, who has been performing and touring with the band for the past two years and makes her recorded debut here.

From the high-octane 'Mindblastin' and 'All the Way to the Bank' to the moody ''Black Rhino' and the car-chase MSFBs-inspired 'Savalas' which show off the Motivators' instrumental grooves, Do The Damn Thing is guaranteed to appeal to the most discerning funk fans.

The band continues to broaden their definition of soul music from a spiritual, political and social standpoint, as evidenced by the album's most poignant and introspective moment, 'Modern Superwoman' featuring lyrics penned by Teruko. The Soul Motivators have toured tirelessly in their hometown of Toronto and all across the country. Their diverse crowd always turns out for their propulsive live show, and their mandate has always been the same: inclusivity, community, togetherness, and getting down on the dancefloor.

Dadub ​is a project synonymous with the deepest rhythms from the interior of the human psyche. Low-end mysticism. Tribalist periodic audio patterns. The Berlin-based Italian producers behind the project, now constructed of sonic warlock Daniele Antezza and performance artist Marco Donnarumma, supply an unmistakably unique vision of post-apocalyptic dub landscapes. Past, present, and future blend into one, backed by the supremely sublime BASS of creators who are light years ahead in their field. A Sun Called Moon​ is a superior first representation on Ohm Resistance, detailing their ongoing mission of creating bass-present music, regardless of dancefloor conformity. The Time You Killed opens as a psycho-acoustic audio film, depicting the unknown world from which the EP emanates. I Would Gladly Die… introduces the first heavy rhythmic patterns, completely alien to identified structures, while unmistakably pushing a groove that entrances hypnotically. Past Times Present Ruins lowers the tempo and continues extrapolating into new rhythmic territory – or is it ancient? It Was Too Soon follows with beat driven hednod, as influences from Scorn to Autechre are subsumed into the universal language that comprises Dadub. Feeling both familiar and foreign, both modern and eternal, Dadub’s first appearance on Ohm Resistance is a fascinating drama played out in 4 acts. Spliff recommended – subwoofer required. All tracks Written and Produced by Daniele Antezza and Marco Donnarumma Mixed by Daniele Antezza and Marco Donnarumma at Dadub Studio, Berlin Mastered by Xergio Cordoba @ Eternal Midnight Studio, Madrid Photography by Flora Schwartz Layout by ​MachineTM

‘Oh, baby, this is where it gets good.’ - Zaphod

The last ever BBC radio series of The Hitchhiker’s Guide to the Galaxy makes its vinyl debut! Materialising in the lavish packaging style of the preceding five series (Primary Phase, Secondary Phase, Tertiary Phase, Quandary Phase and Quintessential Phase) the Hexagonal Phase will make its presence known to all humanity on heavyweight Neon Geen vinyl! First broadcast in 2018, the Hexagonal Phase is based on Eoin Colfer’s And Another Thing…, the first - and, to date, only – official sequel to Douglas Adams’s original book series. This is also the first ever publication of the original radio edits of the Hexagonal Phase, as heard on their original Radio 4 broadcast. Arthur Dent and friends are thrown back into the Whole General Mish Mash in a rattling adventure featuring Viking Gods and Irish confidence tricksters, taking in a rare glimpse of Eccenrica Gallumbits and a brief but memorable moment with The Ravenous Bugblatter Beast of Traal.
Starring John Lloyd as The Book, with Simon Jones as Arthur Dent, Geoff McGivern as Ford Prefect, Mark Wing-Davey as Zaphod, Sandra Dickinson as Trillian/Tricia McMillan, Samantha Béart as Random and Jim Broadbent as Marvin, with a guest cast including Jane Horrocks, Lenny Henry, Jon Culshaw, Mitch Benn, Ed Byrne, Toby Longworth, Professor Stephen Hawking and many more, with music by Philip Pope. Adapted, Directed and Co Produced by Dirk Maggs, based on the novel And Another Thing… by Eoin Colfer, with additional material by Douglas Adams.

Presented on 3 x 180g heavyweight neon green vinyl, and
presented in illustrated wallets inside a rigid, bound 20 page book,
including a perspective sleeve note by Geoff McGivern and a
concluding overview of the series’ development by Jem Roberts,
Adams’s official biograph

You’re home just in time for tea.’ - Fenchurch