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Real Feel Records looks to blend old and new in paying tribute to the roots of U.S. house music. Real Feel is the vehicle intended to bring it back to basics and create a platform to boost US-based artists in an inclusionary way. The label is run out of DC, pressed in the US, and will look to elevate Black, Latinx, AAPI, women and TLGBQ artists—new and OG—in the US. The intention is not to come in and Columbus anything--we all know vets in Detroit, Chicago etc have been self-releasing material for a long time; but rather give a channel for new artists while blending in established names.

For its first release, NY DJ, producer and multi-instrumentalist Toribio baptizes Real Feel Records with the Brown Cocoa Skin EP. The record is chock full of lush, swingy tracks built for the dancefloor. The legendary DJ Spinna contributes the finishing touches with a monster remix.

50th Anniversary Reissue! With the original gatefold layout plus all lyrics, new liner notes plus an interview with vocalist Harri Saksala. The album has been remastered for vinyl by Finland's premier progressive rock specialist Pauli Saastamoinen at Finnvox. Kalevala and especially their debut album People No Names is a prime example of a record that should've been big, sold only a handful and only later on was reappraised as the masterful progressive rock epic that it is. Originally released 50 years ago on Finnlevy, then one of the largest labels in Finland, and not marketed at all, there were not more than 500 copies of the album pressed. When people finally realised the quality of the music on this piece of wax, prices for original copies on the second hand market went blasting through the roof and eventually into four figures. Kalevala's story began at the turn of the new decade in 1970, and they played Cream-style hard rock with a power trio lineup. The band's founding member Remu Aaltonen was kicked out the following year, and a renewed lineup immersed themselves in progressive rock. People No Names was released in 1972, and eventually Finnlevy had no idea what to do with this kind of difficult new youth music. This 50th Anniversary reissue is put together with the approval of original vocalist Harri Saksala The album is remastered for vinyl by Pauli Saastamoinen at Finnvox.

For our next release, we're thrilled to welcome two new artists to the SNF family. Two of the most ubiquitous names in today's UK jungle circuit, it was only a matter of time before the raucous jungle of Tim Reaper and Dwarde found a home in Shall Not Fade's catalogue.

On End Of The Universe EP, the two join forces to flex their creative muscles, together worth more than the sum of their parts. Whilst the title track is easily imagined in a Sherelle set given its strong pulse and hardcore proclivities, the following two are equally suited to home listening as they are, raving. 'Midnight Sun' takes the focus away from the lower ends and puts it on melody and percussive texture, whilst 'Stretchpants' maintains the focus on building atmosphere with sounds reminiscent of Dat Oven's 'Icy Lake'. Finally, DJ Sofa steps up for the remix duties on the last track. This one is pure DnB, strap in.

End Of The Universe EP drops 28th October via Shall Not Fade.

green marbled vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

yellow marbled vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

Samurai Hannya II comes on 3 individual marbled 12"s in Full Artwork Sleeve and Digital

purple vinyl

The Snake, Ghost, and Demon reconvene for Samurai Hannya II, a supercharged sequel to the 2019 inaugural collection of Samurai Music's current finest outer edge constructions.

Alongside the established Samurai family of producers, Hannya II ushers in some notable names to the Hannya series in Mako, Eusebeia, and introduces some future ascendants - RDG (with Gaze Ill and Ojeblik), Hoji, & Dailiv.

The cryptic Hannya concept is elevated for Vol II with an exclusive luminous illustration by David Paul Seymour as we step further into our exploration with colours.

This extraordinary NYC trio combines free jazz and post-punk with pointed commentary about issues of race, gender, the pandemic, and political autonomy. Rose Tang, a Mongol from Sichuan, sings/recites and plays guitar, piano, and percussion. Tenor saxophonist Ayumi Ishito, from Japan, plays in a plethora of bands along the jazz/rock spectrum. Drummer, composer, and educator Wen-Ting Wu, from Taiwan, combines jazz drive and classical rigor.

For over a decade, Names You Can Trust has presented a variety of new music that has grown from a prolific network of talented musicians in Colombia's capital city. Frente Cumbiero, Romperayo, La Boa, and Meridian Brothers are some of the important names to have reached a well-deserved global audience. The scene itself in Bogotá has been on the cutting edge for some time, and this new generation of musical spirit has naturally become a beacon in the tropical music community, not only as a standard bearer for honoring tradition but as well as the ability to flip that tradition on its head, with thoughtful modern and technological experimentations. The good news is that there are no signs of this particular renaissance slowing down, as some of these marquee names in the aforementioned list have expanded their creative output as producers, engineers and mixers.

In this case, Meridian Brothers creator and musical savant, Eblis Álvarez lends his expertise to a new emerging septet of tropicalistas, La Sonora Mazurén, named after a northern neighborhood in Bogotá. The group's mission is best described as an exploration into the many influences of tropical music that have thrived in Colombia for decades. Thinkcumbia,chicha,charangaandvallenatoto name a few, and that's where we land on with the group's debut single for NYCT. It's an apt illustration of the band's range, starting with the A-side's quintessential "Charanga Mazurén," a throwback to pure dancefloor accordion bliss, a pulse that is synchronized with the aura of Colombia's legends such as Landero, Meza, or Gutiérrez. The B-side "Cachicha" is a take on the all-importantchicha, which has become an inescapable and essential part of Peru's nationalcumbia, and likewise a staple within Colombia's borders since the advent of the popular style on record back in the day. That tradition continues here, the familiar pluck of the psychedelic guitars mixed with an array of synthesized sonics, the palette of Peru mixed with that of producer Álvarez's wizardry and the group's talented players.

First vinyl single off the debut album from La Pambelé!

Bogotá's La Pambelé steps into the ring for their debut release on Names You Can Trust, and with it, they've joined a storied history in Colombia's prized salsa tradition. This new generation of talented musicians have come out for the 1st round with fire, grit and determination. Brass, keys, percussion and lyrics blast at you from all angles, evocative of the way the orchestra's namesake, the legendary Palenque boxer, used his flashing fists within the squared circle.

Featuring a full album of original compositions that have been faithfully recorded and mixed under the guidance of Mario Galeano Toro (Frente Cumbiero) and Daniel Michel at Mambo Negro Records, the approach is a return to the roots of salsa dura that continues to thrive in Colombia's deep musical training grounds. The promising future of the genre shines in the capable hands of La Pambelé and its players, and this introduction is sure to help vault the group from up-and-comer to title contender status.

Ringing from hi-fi headphones and blown-out boombox speakers alike
comes the overloaded guitar genius of "Easy Listening", a record of rock
n' roll daydreams and terminal boredom, and 2nd Grade's long awaited
second LP.Like a blue slushy on a hot day, Easy Listening is a sweet
respite
Like the Blue Angels touching down on the Las Vegas Strip, Easy Listening is
impossible to ignore. And like a janitor mopping up beer on the floor of the
Hollywood Palladium in 1972, hours after the Rolling Stones have finished
Ventilator Blues and climbed onto the bus, Easy Listening knows the glory and
cost of escapism, abandon, and the soul of rock n roll. Philadelphia's 2nd Grade
(Peter Gill, Catherine Dwyer, Jon Samuels, David Settle, and Fran Lyons) is a band
both obsessed with and worthy of rock stardom, and Easy Listening proves their
status as virtuosos of the power pop renaissance.Sonically and lyrically, Easy
Listening pays tribute to a guitar lineage linking the Stones to the Flamin'
Groovies, to Redd Kross and Guided By Voices. With its spiraling hooks and
handclapped quarter note beat, lead single Strung Out On You sounds like an
alternate reality post-Radio City Big Star cut. In 2nd Grade's world, music history
is a prism, not a linear progression. Famous teens transcend time on the outro to
Teenage Overpopulation, a shouted cacophony of names including Tommy
Stinson, Lizzie McGuire, and Joan of Arc. The line between the love of an
audience and that of a romantic partner is blurred on songs like Hands Down and
Me & My Blue Angels. Across the album, hi- fi and lo- fi styles splice together;
playful references and surreal hints of impossibility build a complex, believable
world atop a foundation of simple and sticky melodies that resonate on very first
listen. Pressed on Blue Jay Color vinyl.

Presto from San Diego has consistently stayed true to his soul and jazz-inflected formula of ethereal beats over the years. Presto's first record, the self-pressed EP "Breakin' Concrete", came in 2000 and featured the underground cut "Relax Your Mind," which DJ Mark Farina grabbed for his mix CD "Mushroom Jazz 3" (2001). More interest in the record resulted in the launch of his record label, Concrete Grooves and subsequent releases for Bastard Jazz, Miclife Japan and Names You Can Trust.

Presto resurfaced recently from the beat lab with a new unreleased 10-track instrumental album - "Basement Beats". This album was recorded in 2020 while living in New York. He wanted to give listeners a view into his daily commute in pre-pandemic NYC from the early 5am walks to Union Square to his daily E Train commute to Times Square. Two tracks from this album are presented here for Mukatsuku Records in a limited edition pressing of 400 only copies . "Official" stands out as a gritty drum loop which provides a bed for a melodic sample that sings as a soulful synth melody is played on the chorus by his daughter. "Floating" provides a smooth backdrop with programmed drums as Presto plays the wah-infused Rhodes piano along with Avatar on the bass guitar, giving a nod to their previous live fusion group Wayward Saints. The new release brings a dose of the old school as it travels into the future while comfortable in the present….

Two of the biggest names in the game join forces & the results do not disappoint!Straight out of Le Havre, Djar One's beat-heavy productions have been demanding attention on dancefloors and radio stations worldwide via his Beats House imprint. We couldn't be more delighted to have him on board the good ship Soul Flip for our eleventh 45 release. First up for the Djar One treatment is Mary Wells' Northern-leaning stomper, "Can't You See (You're Losing Me)". Already a dancefloor bomb, Djar One ramps up the energy still further to devastating effect. On the flip, he takes on the seldom-heard original 1965 version of "Uncle Willie Good Time" by The Astors with similarly superb results.

• DELUXE HEAVYWEIGHT SLEEVE WITH SPOT-VARNISH AND ALTERNATIVE ARTWORK
• INCLUDING INSERT WITH LINER NOTES
• PVC PROTECTIVE SLEEVE
• 1994 BANK HEIST MOVIE PRODUCED BY ROGER AVARY & QUENTIN TARANTINO
• SCORE BY TOMANDANDY (THE HILLS HAVE EYES, THE STRANGERS)
• AVAILABLE ON VINYL FOR THE FIRST TIME

Killing Zoe is a 1994 crime / bank heist film written, directed and produced by Roger Avary and co-produced by Quentin Tarantino. Killing Zoe follows the story of a safe cracker named Zed who returns to France to aid an old friend in performing a doomed bank heist. The film was labeled by acclaimed film critic Roger Ebert as “Generation X’s first bank caper movie”. After the production of Killing Zoe, Avary and Tarantino continued their collaboration and produced both the iconic award winning movie Pulp Fiction and several radio dialogues in Reservoir Dogs.

The score to Killing Zoe was produced by Tomandandy, aka Thomas Hajdu and Andy Milburn. This duo is best known for their horror scores like The Hills Have Eyes and The Strangers amongst others and many collaborations with great artists such as Lou Reed, David Byrne, U2 and Laurie Anderson.

Killing Zoe is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on flaming coloured vinyl and includes an insert with liner notes.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Tens Collected features Sam Smith “Stay With Me”, Lorde “Royals”, The Weeknd “Starboy”, Dua Lipa “Be The One”, Niall Horan “Slow Hands” and Ellie Goulding “Love Me Like You Do” amongst others.

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award. On 28th April Jessie returns with a brand new single ‘Please’ taken from the upcoming deluxe release of ‘What’s Your Pleasure?’ officially titled as ‘What’s Your Pleasure? The Platinum Pleasure Edition’. Released on 11th June, the album features 6 brand new songs and more.


Her newest track, ‘Please’ sees Jessie continue the energy of ‘What’s Your Pleasure’ in the form of a throwback to 70s and 80s dance music, and pulls it together in a wonderfully anachronistic style, all packaged with Ware’s outstanding vocals. The track fits perfectly into ‘What’s Your Pleasure - The Platinum Pleasure Edition’, Ware’s deluxe offering of her sensational 2020 record. This edition still bears the cohesive, complementary songwriting, the killer grooves and flawless production of the original version. The Platinum Pleasure Edition only serves to heighten the rich and powerful soul of last year’s release with tracks like Please, 0208 featuring synthpop visionary Kindness, the Endless Remix of ‘Adore You’ and a whole host more.

Talking about the upcoming deluxe and new single Jessie said: ”I had such an amazing response to the ‘What’s Your Pleasure?’ record that I didn’t want the lights to go up and the party to be over just yet! ‘Please’ is full of optimism and ready to be played in a place where we can all be together and flirt, dance, touch and kiss. A wonderful excuse not to stop the party from ending.”

It’s safe to say that the last twelve months have been pretty stellar for Jessie Ware. June 2020 saw Jessie release ‘What’s Your Pleasure?’ and gain not only her fourth UK Top 10 album of her career, but also her highest charting record when it entered straight into the UK Official Album Charts at No.3. As if this wasn’t amazing enough, she went on to release her first cookbook and continued her immensely popular podcast Table Manners and recently hit a massive milestone of 21 million individual listens, oftentimes featuring household names such as Dua Lipa, Kylie Minogue, Yungblud, Robbie Williams, Alanis Morissette., Dawn French and Dolly Parton to name a few.

Last year saw the album continue to receive widespread critical acclaim, with ‘What’s Your Pleasure?’ featuring heavily amongst ‘album of the year’ lists including for music critic Anthony Fantano, also known as The Needle Drop, who gave What’s Your Pleasure?’ the coveted no. 1 spot on his ‘Best Albums of 2020’ list, declaring it to be “a religious experience”. The record garnered praise from The Guardian who say it’s“Ware’s finest record yet"; Rolling Stone laude it as a “fantastic dance-pop record”; Pitchfork say “Jessie reminds us why we listen to dance music in the first place.”, GQ proclaim it as “the perfect album” and NME stated it was“pure escapism.”

Purple Vinyl in PicCover

"Since it's inception, the various artist compilation series SATURATED! has proven to be the epitome of curation in this small niche scene called bass music or whatever.
Each volume is carefully hand picked and is a picture in sound of the music at that point in time but overall has proven to be timeless.
The arrangement works in such ways that each tune flows perfectly into the next one and actually (given that you have two vinyls like a real dj), you could mix seamlessly from the first through the last track.

Saturate Records has become a hotspot for those seeking fresh sounds from well known and emerging artists within the scene.
Channeling the quintessential stylings of low-end driven beats from across the globe, they have been leading the way in all things bass heavy, broken-beat, experimental, glitch, hip-hop, psychedelic and trap for years now. Having featured releases from names like heRobust and G Jones early on in their careers, SATURATE! continues to help push the new school, hip-hop influenced sound forward with their fingers firmly on the pulse of future freshness.
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.

Following the compass of an entrancing debut, Flore Laurentienne’s Volume II presents another palette of rich orchestral sound, where changing forces of water inspire metaphorical markers that navigate passages of life and loss.

Mathieu David Gagnon resumes his voyage into environment and emotion with Volume II, drawing inspiration from the rivers and rugged wilderness of the composer’s native Quebec. In his return as Flore Laurentienne – the namesake of an inventory documenting St. Lawrence Valley flora – Gagnon assembles vivid melodic motifs and delicate modulation with a vast string ensemble to emulate the tides of human experience.

Listeners of Volume I will recognise Gagnon’s signature approach towards reworking and reframing an emblematic melody or concept across a series of works inVolume II, a process he likens to that of a painter creating multiple sketches of the same view. Continued from the first album, the enigmatic “Fleuve” series is conjured to evoke the multiple personalities of the great St. Lawrence River, and the “Navigation” works (“III” and “IV”) wade through dappled progressions and expansive streams of string, the latter of which harbors the gentle meanderings of improvised clarinet.

OVERVIEW: "After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

Following the compass of an entrancing debut, Flore Laurentienne's Volume II presents another palette of rich orchestral sound, where changing forces of water inspire metaphorical markers that navigate passages of life and loss. Mathieu David Gagnon resumes his voyage into environment and emotion with Volume II, drawing inspiration from the rivers and rugged wilderness of the composer's native Quebec. In his return as Flore Laurentienne - the namesake of an inventory documenting St. Lawrence Valley flora - Gagnon assembles vivid melodic motifs and delicate modulation with a vast string ensemble to emulate the tides of human experience. Listeners of Volume I will recognise Gagnon's signature approach towards reworking and reframing an emblematic melody or concept across a series of works in Volume II, a process he likens to that of a painter creating multiple sketches of the same view. Continued from the first album, the enigmatic "Fleuve" series is conjured to evoke the multiple personalities of the great St. Lawrence River, and the "Navigation" works ("III" and "IV") wade through dappled progressions and expansive streams of string, the latter of which harbors the gentle meanderings of improvised clarinet. In the world of Flore Laurentienne, complexity emerges from simplicity as the composer roams familiar environments in constant flux. Gagnon extracts beauty through repetition and constraint, utilizing the writing style of counterpoint for which one of his greatest musical inspirations, Johann Sebastian Bach, is renowned. The lilting waves of "Canon" possess the eponymous formation of melodic 'leader and follower' motif, and magnify the softness of the album's eighteen string musicians into a force of full euphoric resonance. In Volume II, Gagnon continues his expansion of classical composition archetypes to meet a new realm of sonic romanticism. Thematic conventions of wandering the pastoral sublime become altered into glimmering refractions, relaying the emotional and kinetic power of natural energies. Volume II forms an estuary where streams of auditory microcosm reach a horizon of dynamic contrast, and reflect the parallel tenors of nature and humankind.

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

London and Dublin based women-led independent label TULLE release
TUESDAY NOTHING EXISTS - the debut album from three-piece GRAVE
GOODS
Featuring current and former members of PINS, Girls Names and September
Girls, the Sartre-rock trio are based between Manchester, Belfast and Dublin. This
highly anticipated debut full-length TUESDAY. NOTHING EXISTS was recorded at
Invada studios, Bristol.
Amongst others they have opened for Beak>, HEALTH, and Jon Spencer & the
Hitmakers and have played various festivals in Ireland and the UK.

Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha’s “Orkos,” originally released on cassette, is one of these standout musical diamonds that combines Jazz and Egyptian vocal traditions with Funk, Latin and Soul. Out via Habibi Funk October 10th.

Maha’s “Orkos” immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who’s group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu’s “Ramy” TV Series).

At the time of its release, however, the “Orkos” cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha’s story. Below is a bit more context around the release as well as the campaign schedule.

The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether.

Maha’s “Orkos” album fits this category. Put out in a small run of cassettes, it’s fair to say that the singer’s sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time.

From the funk sounds of “Law Laffeina El Ard” (Single 1, out September 1 with Pre-Order announcement); the moody, mellow sounds of “Kabl Ma Nessallem We Nemshy” (Single 2, out September 23) or “We Mesheet;” to excursions into Latin sounds in the title track “Orkos,” and disco with “Ana Gaya” (Album Focus Track, out October 10) the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time.

We connected Maha in late 2021 and she was clearly surprised to have someone call about music she recorded more than 40 years ago. She also seemed interested in the idea in bringing her music back to people’s attention. A few weeks later we were speaking with our friend Moataz, who runs the Disco Arabesquo project and showed him this great new album we found and to our surprise he knew the album, having found a copy of it a year or two before, in Cairo. It was then obvious to team up for a collaboration for this project. You can find Moataz’s story about Maha and her music, as well as extensive interviews with Maha herself, in the booklet accompanying the release.

As always, both vinyl and CD come with an extensive booklet featuring interviews with Maha as well as unseen photos.

THE RETALIATORS MOTION PICTURE SOUNDTRACK is the high-octane original soundtrack from the award-winning horror-thriller THE RETALIATORS. It includes special appearances from some of the biggest names in rock music such as Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate and more, both on screen and on the original soundtrack. The album is available on a limited collectors edition 180gm red & black splatter vinyl pressing housed in a gatefold sleeve with exclusive movie stills, a 24x36 movie poster collectable, blood spattered o-card and including a digital download. It is also available on digipak CD and cassette formats.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

Andreas Toftemark is a young and talented Danish saxophonist and composer, who has spent the last 8 years of his life making a career for himself abroad; with 1 year in Sweden, 3 years in Amsterdam and 4 years in New York - where he was very inspired and influenced by the capital of jazz. Toftemark has studied with prominent names, such as Joel Frahm, Ben Wendel, Sam Yahel and Eric Alexander. He has performed around the world and he has played with many internationally acclaimed jazz musicians, like Peter Bernstein, Rodney Green, Ethan Iverson and Paul Sikivie. The six tracks on 'A New York Flight' are melodic and driven by the rhythmic open-mindedness that jazz is moving towards today. This is something that can be heard on both the two tracks that Andreas Toftemark has composed himself and on the four jazz standards which the quartet also play. It is swinging and at the same time open to the individual interpretations of both the listeners and of the musicians. The overall subject of the songs are love and passion, whether it's the love for New York - or perhaps the regained love for Denmark...? - or the love expressed on the track, which was the first single from the album, and which also has the most mysterious title of all of the tracks on the album, '2223', which is a row of numbers that seem to follow Toftemark in love and in friendships. Andreas Toftemark Quartet consists of some of the absolutely finest young musicians on the contemporary Danish jazz scene; Felix Moseholm on bass, Andreas Svendsen on drums, Calle Brickman on piano and, of course, Andreas Toftemark himself on sax. Each one of them is an overwhelming joy to listen to, and brought together in a band, they bring music to a both sincere and playful level.

Saxophone player Jakob "Dino" Dinesen and bass player Anders "AC" Christensen have been household names on the Danish jazz scene since the nineties, where they played together in the now legendary Once Around the Park. Here they are joining up with drummer Laust Sonne. Sonne is one of the most versatile musicians in Denmark and he has been the drummer in the popular Danish rock band, D-A-D, for over 20 years. He has also played drums in the avant jazz rock outfit, Bugpowder, and has made a career for himself with his own rock band, Dear. He has also recorded two solo albums and in 2007 he received the prestigious Danish music award, Ken Gudman Prisen. Anders "AC" Christensen has been a member of Paul Motian's ensemble and has played in Polish jazz legend Tomasz Sta?ko's band. In Denmark, he has played with the Hess brothers in Spacelab, for over 25 years. In 2009 he made his only solo album so far, 'Dear Someone', featuring Aaron Parks and Paul Motian. "AC" is highly in demand among Danish jazz musicians and he has even played in a lot of rock bands, like Sort Sol and The Raveonettes. Jakob Dinesen has made a long string of albums in his own name and has received several prizes. He has played with loads of internationally acclaimed jazz musicians, such as Paul Motian, Kurt Rosenwinkel, Eddie Gomez, Ben Street, Tony Allen, Nasheet Waits and Steve Swallow. He has also been a member of the acclaimed Danish jazz groups Hugo Rasmussen Allstarz and Beautiful Day and has played with Danish musicians as distinct as Thomas Blachman, Thomas Helmig and Lars H.U.G.. The three musicians have known each other for many years. In their younger days, they often ended up together, playing late night jams and gigs at parties. The corona outbreak in the first half of 2020 finally brought the three musicians together again, as most of their other plans were cancelled because of the virus. As a blessing in disguise, they began to play together again, in the rehearsal room. They found, and created, a space for their thoughts and ideas. A space for listening and playing.

The long-awaited full-length from Tommy and The Ohs: Mariposa Gold. Ohs’ mastermind Thomas Oliverio has worked alongside some of the biggest names in music today—but with Mariposa Gold, he takes a sharp turn into the psychedelic reaches of American roots music and the avant-garde. The result is a wild trip through a lavish soundscape, a California of fantasy and heartbreak, where genres and traditions bleed together in “the big surreal.” Guided by Oliverio’s fine-tuned sense of production and melody, Mariposa Gold is lush with arrangements that strive toward new and surprising dimensions. These songs sway like hummable country weepers sent through the looking glass, joining sheer virtuosity, worthy of the best session players, to a distinct experimental sensibility shaped by bluegrass, country, and psychedelia.

For the next instalment in our split series, we handed the reins over to two producers whose work has kept us continually inspired over the last few years. At the helm of the A-side, Berlin big-room havoc-wreaker AMOTIK puts on the burners right away with two riotous jams that scream nothing but sonic aggression. On the flip, the mysterious, genre-unbound Janice sweeps us into his psychedelic, non-formulaic techno mindset. True to AMOTIK's minutely balanced, well-integrated blends of punishing kick drums and sunken harmonics, metronomic destroyer "Narangi" swings the pendulum sharp and clean, from deep down a thick sludge of reverb-soaked, FX-topped percussive armada to bleeps n' bloops barrage fire, whereas quake-inducing tides of 909 thunder hail down upon the dance floor with unrelenting frenzy. The dusty bone-bruiser "Hara" picks up the torch and it's in no calmer mood. A slowed-down, breaks-loaded churner, this one relies on a fine engineering of lo-freq moves and pure hardware-processed filth to establish a murky motel, cinematic narrative of sorts. Up with the fracturing wares, here's Janice rocking the flip upside down with the aptly-titled "Mass Formation Hypnosis". Doing what's written on the tin, the faceless producer rushes us headfirst into the boiler for a thorough, unfaltering brainwash. Smelling of leather, grease and coal, this one's bristling with a delectably rugged palette of unambiguous electronics: an ultimate shelling of chest-rattling drum work, in-your-face bass uppercuts, trumpeting stabs and menacingly altered vox. The final salvo, "Names and Excuses", tops it all off on an ominously droney tip, flinging us right away into the frothing mouth of a deadly machine giant, hurtling and tumbling down mazy bowels of washed-out ambient techno via rhyzomatic gutters of brooding abstract motifs and no-frills heavyweight pound. Hectic. ''XVII'' comes adorned with a duly outstanding frame to shine, and will be pressed on 180g audiophile quality vinyl. Once again a way for RYC to openly declare its aspirations and goals, in letting people know that quality, passion and love for the music is all that matters.

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

Celebrating the 50th Anniversary of the Rocky Mountain High album and song, John Denver's Windstar Records is reissuing the album on limited edition Transparent Blue Vinyl. Originally released September 15, 1972, Rocky Mountain High was Denver's first Top 10 album, propelled by the self-titled single. In 2007, the title track was made a state song of Colorado. The album has gone on to earn 2x Platinum status and the title track certified Gold. In the early 1970s, Denver was one of the first artists to share an environmental message through his music, and fans responded. John understood that responsibility came with having a public voice. The album's iconic namesake Rocky Mountain High was written while Denver was camping in the Rocky Mountains during the Perseid Meteor Shower, with lyrics expressing the love and wonder John Denver felt for his adopted state of Colorado, and speaking of environmental sustainability. Released while war was raging in Vietnam, the album's second single "Prisoners" tells a story of prisoners of war. The album also features Denver's take on songs by The Beatles and John Prine, and the five-part Season Suite finds reflection through the seasons. Tracks: 1 Rocky Mountain High, 2 Mother Nature's Son 3 Paradise 4 For Baby (For Bobbie) 5 Darcy Farrow 6 Prisoners 7 Goodbye Again 8 Season Suite: Summer, Fall, Winter, Late Winter Early Spring (When Everybody Goes To Mexico), Spring

Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.

Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.

Blue Vinyl
If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Sunrise On Slaughter Beach is Clutch’s thirteenth studio album – a slamming summary of everything that makes the band great and another giant leap forward into career longevity.

New bangers like “Red Alert (Boss Metal Zone),” “Nosferatu Madre,” “Skeletons on Mars,” “Jackhammer Our Names,” and “Mercy Brown” take their rightful place alongside Clutch classics. Sunrise On Slaughter Beach is the natural culmination of what Clutch began as teenagers in the early ‘90s.

Recorded at the The Magpie Cage Recording Studio, Baltimore, MD, the album was produced and mixed by Grammy nominated Tom Dalgety (Ghost, Royal Blood, Pixies) with additional engineering by J Robbins (Jawbreaker, Against Me!, The Sword).

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

If the name Seb Martel is still unknown to you, the guitarist appears on the credits of classic albums from Tony Allen, Femi Kuti, Morcheeba or Blackalicious. Saturn 63, his new album on InFiné is dedicated to the exploration of the electric guitar in all its nuances. This new opus made from a selection of 9 guitars from the Musée de la Musique (a branch of the Philharmonie de Paris), and only enriched with the voices of his close collaborators (Camille, Sabrina Bellaouel...), unfolds on fourteen tracks a musical fresco faithful to the historical and geographical heritage of his instrument. The album includes fascinating reworks of Carl Perkins, Benjamin Britten, Chavela Vargas or Vincent Segal in addition to his own compositions. However, adopting a dogmatic approach, and dressing his compositions with sounds and effects collected during the recordings, Martel offers an abstract and experimental edge to Saturm 63, which transports the listener into an out of time experience. Two famous names of the French Chanson, -M- and Mathieu Boogaerts joined Martel to close the album with the snapshot of a speechless improvised session.