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Step in the Arena is the second studio album by hip hop duo Gang Starr, printed as a 1990 release and commercially released on January 15, 1991. The album received critical acclaim and was also included in the book 1001 Albums You Must Hear Before You Die. The Source magazine stated: “Step in the Arena stands alone on a musical level, yet it also remains true to hip-hop’s underground heritage.” In 1998, the album was selected as one of The Source’s 100 Best Hip Hop Albums. Urban Legends/UMC will reissue Step In The Arena on 2LP 180 gram black vinyl on 28th June, 2019.

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit.
Time is not on our side, we need inspiration, and we know where to find it:
We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Here’ is Leo Sayer’s 7th album, originally released in 1979 and features the singles ‘When The Money Runs Out’, ‘The World Has Changed’, as well as his cover of The Chi-Lites classic ‘Oh Girl’. This album reunited Leo with early producer and collaborator, David Courtney. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

n a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Living In A Fantasy’ is Leo Sayer’s 8th album, which reached #15 when originally released in 1980 and features the hit ‘More Than I Can Say’, which reached #2 on both sides of the Atlantic. This album was produced by Alan Tarney, who was riding high in the charts with his productions for Cliff Richard;
Alan and Leo wrote ‘Dreamin’ for Cliff. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Have You Ever Been In Love’ is Leo Sayer’s 10th studio album, reaching #15 when originally released in 1983 as a ‘love/romance’ album, although it featured a few hit singles from previous albums but it also featured the new singles ‘Orchard Road’ (which gave Leo another Top 20 hit) and ‘‘Til You Come Back To Me’. This album had a few producers, with Arif Mardin, Alan Tarney and Christopher Neil working on different tracks. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

One of Drumcode’s finest, Bart Skils returns for his first solo EP since 2018.

Bart Skils remains one of the label’s most consistent achievers going back to his debut in 2012. Eight original EPs, a stellar remix of Moby ‘Go’ and his now-classic collaboration with Adam Beyer ‘Your Mind’ have entrenched him as a DC treasure. All the while the Dutchman plays a nurturing role with the label’s nu-skool brigade, regularly playing B2B with Layton Giordani and teaming up with Weska for last summer’s ‘Polarize’ two-tracker.

His ninth Drumcode EP ‘Settle In The Sun’ delivers the first productions from his new studio after six months of preparation. The title track was inspired by an extended stay in LA over New Years, channelling the energy of Venice Beach’s vibrant skate culture to create an uplifting, big riff weapon. ‘Tropical Heat’ took influence from Bart’s experiences touring South America, as an evocative vocal sample and rave-kissed melody line run alongside a wicked rolling groove. ‘Shiva Says’ is a peak-time, brain-mangler in the best of ways, driven by a monster synth line that grows and contorts as the track progresses.

Hello Everybody,

I hope that you will have as much enjoyment from my music here as I had performing it!! I would like at this time to give you a little "History" of myself and as to how I came to love the music that I play! Coming from a "Musical Family"; my father was Tyree Glenn, Musical Director and Trombonist with Louis Armstrong and played with the likes of Cab Calloway and Duke Ellington among others and my brother, Roger Glenn, a very "Talented Musician" in his own right, it was not difficult for me to be "Influenced" and get into "Show Business" as a Musician and Entertainer! My early years in the "Fifties" were spent playing the Saxophone with my "Teenage Band" in New Jersey and later, after 4 years at Marietta College in Ohio, in the "New York City Area" in the "Sixties"! As the song goes: "IF YOU CAN MAKE IT THERE, YOU CAN MAKE IT ANY WHERE" which I did and it was in New York City where I got my "Musical Education" which would become a part of me for the rest of my life! In the "Mid-Sixties", I was offered a "Partnership" in a Night Club in the Algarve Portugal and readily accepted the chance to perform "In My Own Club"! Moving on to Lisbon after a few successful years in the Algarve, I performed in TV and recorded records there in Lisbon! By the way, I played Professional Basketball for "Benfica Lisboa" which was and remains to this day, my "Big Love for Basketball" and was to be a big part of my life! From Lisbon, I eventually went on to live and play in Italy in the early Seventies with Rocky Roberts. Returning to Lisbon in the mid-Seventies, I worked with my buddy from my "New York City Days", the very talented "Singer & Entertainer" Wayne Bartlett, and we formed the "Duo": "Wayne & Tyree" and performed in the Casinos in Portugal! We accepted an offer to perform our show in Germany and as things worked out, I have been living and playing my music here since 1976! I have enjoyed bringing my "R&B" to everyone and showing just a little bit of how it was performing "R&B" in NYC back in the "Sixties"! I hope that you will enjoy this Compilation of my work here in Germany from the past years and I would especially like to thank Tramp Records for making this record possible and being a "True R&B Fan" of Tyree Glenn Jr. and my Music!

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

This is the 4th ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Destination celebrates the drum and bass genre with its own style reminiscent of Aphex Twin and Squarepusher. type programming. It fuse’s eclectic beats with a more common flow of bass licks that cruise throughout the track. With a more psychedelic presence this track offers a complexity of rich sounds that will encapsulate any avid lover of electronic music from the headphones to the dance floor. Bouncy and fun yet with deep exploration of ‘Abstract sounds’ bringing a serious edge, Destination is equipped for any explorer seeking any type of Destination. Then comes Arrival. Not an ordinary piece of music, with the artist expressing themselves from past musical influences, to curve their own piece of storytelling art, through audio sonic means. An inner world reflective explanation can be as follows - An epic piece revealing the adventures of seeking depth, from ones dense conscious reality, tribal like mannerisms, traveling to a higher frequency of light and wonder, breaking through to the heart centre of ones own unique truth. By doing so, welding together the whole aspects of being, Arriving at ones own true balance of self. Reuniting with the dense tribal like self yet with a complete transformative understanding of life and self in relation to life as a whole. Ones outer world of reflective explanation can be this - starting from earth, leaving the tribal terrains of earth based reality, exploring out into the cosmic wilderness, looking back from a distance, witnessing Earths magnificence and enigmatic beauty. Continuing to swim out to the depths of the galaxy to ‘Arrive” at an unexpected splendour unknown to the human consciousness ,to a cosmic giant….. giant what? This remains to be unseen! It’s left to the imaginators discretion of wonder within the experience of the audio sonic delights presented in,….. ‘Arrival’.

Black Ark Vol. 2 is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle. It’s a bedrock of deep and heavy rhythms recorded around Jamaica =just before the demise of Perry’s famed Black Ark Studio. Black Ark Vol. 2 is the follow up album to the acclaimed Black Ark In Dub that unsurprisingly for an Upsetter release, took a different path. More vocal oriented, the album features extended dubwise cuts of (former wife and co-producer) Carol Cole’s ‘Ethiopia’, The Originals ‘Got To Be Irie’, Junior Byles ‘Mumbling & Grumbling and The Inamans remake of the Bee Gees hit ‘How Deep Is your Love’, along with an alternate take of the Silvertones roots classic ‘Give Thanks’ with flute overdub and a couple of solid covers from Third World lead vocalist Bunny Rugs. Originally released in 1981 the hard to find Black Ark Vol. 2 remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Lascelle 'Lascelles' Gordon - the driving force behind Vibration Black Finger – astonishes us yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form.

Having earned his chops as founding member of the Brand New Heavies, Campag Velocet and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future.

''Can You See What I'm Trying to Say' is a quote from Marion Brown, the great alto saxophonist' explains Gordon. 'The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen & Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on Law of the Universe) were recorded 25 years ago. 'Only in a Dream' and 'Empty Streets' are the only songs that were recorded live in the studio.'

'I was blown away by the New Life Trio 'Empty Streets' (from 1978) and was fascinated by the vocals' continues Lascelles. 'I always thought it would be great to cover this tune'. Such is the power of this song, it's used to open the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. While not a concept album as such, Lascelles has nonetheless conceived and presented Can You See What I'm Trying to Say to be heard as a complete listening experience, with each track blending into the next, resulting in a seamless expression of music.

Following 'Empty Streets', some instrumental interludes segue into a dimensional drift of beats, space synths, horns and electronics; there's a vocal reprise of 'Acting For Liberation', sung with gusto by Maggie Nichols, and then there's the album's momentous finale, 'Only In A Dream', which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world.

In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital and contemporary as anything he's done before, covering an incredible amount of musical ground in the process.

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. A supremely talented multi-instrumentalist and composer, Irvine had a musical vision that was unerringly soulful, spiritual, and funky. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. For fans of funk, soul and jazz, it doesn’t get much better than this 1973 classic.

a A1. Time Capsule - Electric Piano, Narrator Recitation – Weldon Irvine

In times of trouble and uncertainty music can provide relief for the soul, and DAVIE’s triumphant Defected debut ‘Testify’ does exactly that. A joyous introduction to the Brooklyn artist, this special 7” release demonstrates an ability to strike the balance between classic and contemporary sounds seamlessly. Steeped in music from a young age, DAVIE followed the path many soul greats did before him, joining the choir in a local church where his father was a pastor. Describing ‘Testify’ as “a dance song, not a gospel song”, the record remains inspired by his upbringing up in the church, radiating all the energy and atmosphere of worship in full flow. On the A-Side rich instrumentation provides the backdrop for DAVIE’s flawless vocals, along with a serious dose of funk, making this label debut nothing short of a future classic. The B-Side features the Accapella, an essential DJ tool.

When some hardcore funk 45 collectors told us that Starfoxx's dance floor filler "Oh Linda" was a new discovery to them we were pleasantly surprised to say the least! Not only because of their opinion but also because we love that tune too we decided that it needed a re-release on 45. "Oh Linda" is on both sides so you can play one side to death while the flip remains clean and fresh!

Exciting new producer Yves Tomas releases on Rekids with ‘Pilot EP’ this May - a bold and versatile debut release exhibiting the artist’s broad range of influences.

Hailing from London but with roots in Bristol, Yves Tomas is a producer, vocalist and DJ brought up in the centre of UK club music. Since experimenting with music through his childhood and early teens he’s gone on to become an engineer, working in studios alongside some of the biggest names in grime and pop music. This has led to him developing his own unique style of electronic music as a reactionary expression to working in the meat grinder culture of mainstream music. He now joins Radio Slave
Rekids - a label known and respected for discovering many luminary figures in electronic music.

With its otherworldly melody and echoing effects, ‘Braindead’ is a downtempo track that remains beatless until the halfway mark, moving onto the beautifully arranged ‘MA1’ with its reverb-drenched breaks, quivering synths, and ever-evolving chopped and looped vocals. ‘River’ then incorporates elements of grime and jungle courtesy of its lively stabs, soulful chords and compelling rhythm built on punchy percussion. Taking things into a spiritual direction, Elephant & Snake’ meanders forward using
syncopated drums, washy chants and elevating organ keys before ‘Callout FM’ follows with its rattling snares, twisted arpeggios, and crystalline pads.

Nearing the end, ‘Pilot’ is a stripped-back affair with sporadic kicks, a fuzzy bassline, and vocoder vocals until digital bonus track ‘Birds Of The Barbican’ ties everything together by generating an uplifting atmosphere destined to elevate revellers for many years to come.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12" holds the 12" mix, the 7" mix, and the original B-side Eye To Eye. The original 12" is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls:

"Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame.
Stars was one of four songs recorded at Gary's Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She'a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film.
Stars itself, was the most ardous and problematic track that i've ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare. It remains the single most expensive song i ever recorded. The B-side Eye To Eye, on the other hand, was written, recorded and mixed in one day."

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

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

TERANGA BEAT proudly presents Vol.2 of Kyriakos Sfetsas' 1976 "Greek Fusion Orchestra" project. Sfetsas' vision behind the formation of GFO, was to create a piece of work that would expand the boundaries of Greek traditional music. The result was a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, performed by Athens' best musicians of the day.

Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.

Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.

German veteran Marc Romboy is back on André Hommen’s ​These Eyes imprint with a stellar two track release entitled ​Elka, ​showcasing Marc’s effortless ability to portray alluring and emotive characteristics through music​. ​This offering follows up from ​Trapped In An Orbit​, which he released on the label in 2017 and remains a label highlight to this day.

The title track ​Elka provides a stirring and suspenseful journey that plays out as it’s melodies unfold over a bassline that pulses gently and impels the listener. ​Unreal Sun ​ups the energy with a groove thats ready to fall into and chords that lead the way, dictating the pace as their intensity undulates.

Marc Romboy has dedicated 30 years to the scene, with an impressive history of releases on labels like Innervisions and his own Systematic Recordings, collaborating with artists such as Stephan Bodzin. It is a point to be made that the A side to this release is one of Marc’s personal favourites to date and it is clear to see why.

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

LP SKY BLUE VINYL/LOSER-EDITION

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

"Available again for the first time since original release in 1974, Outernational Sounds proudly presents one of the deepest custom press jazz recordings of all – Jaman’s spiritualised and funky Sweet Heritage.

The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. But that is to put the cart before the horse, for the true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. The far greater part is embodied in the musicians and their music as they play it and live it. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it.

Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians – one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist Juini Booth and regular Ahmad Jamal sideman Sabu Adeyola (also of Kamal & The Brothers) have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and too many others to mention. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily in the years that followed. He became, in short, one of Buffalo’s true jazz stalwarts, and so he remains.

But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in compete control, and with the flying, spiritual sound of ‘Free Will’ and the upful, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since become a legendary collector’s classic. Unavailable since its original issue, Outernational Sounds is proud to present Jaman’s Sweet Heritage – the soulful and spiritualised sounds of a master at work."

Wildflower (Leon Brichard, Tom Skinner, Idris Rahman) continue to explore areas of groove-based improvised jazz on their 2nd album. Taking a slightly freer approach to the writing process, simple but effective melodies and bass motifs are explored to to create fully realised pieces with dynamic extremes that bring a full range of emotion. Recorded over a two day session at Fishmarket Studios in London, the band sounds relaxed and at ease, giving space to explore intricate improvised interplay and dialogue fully whilst at the same time building to fiery powerful climaxes and emotional peaks. Skinner is on fire here whilst Rahman and Brichard trade riffs and push the harmonic and rhythmic boundaries. Rahman’s use of clarinet and bamboo flute plus additional layers of woodwinds, Skinner’s unique approach to stripped-down use of his very personalised kit, and Brichard’s use of both acoustic and electric basses make for a sonic landscape that is both unique and highly approachable. Touching on heavy spiritual vibes whilst taking in dark alternative grooves and delicate folk-like tunes, the overall sound remains instantly accessible



Sax, Flutes and Clarinet: Idris Rahman
Electric and Double Bass: Leon Brichard
Drums: Tom Skinner

Skalpel, internationally recognised ambassadors of Polish music, reissue their classic and best-selling album Highlight on limited purple vinyl.

For over two decades, Marcin Cichy and Igor Pudło have fused traditional Polish jazz with forward-thinking electronica. Their distinctive sound caught the attention of Ninja Tune, resulting in two critically acclaimed albums - Skalpel and Konfusion – followed by a Gilles Peterson Worldwide Award nomination, extensive international touring, and praise from NME, The Wire, DJ Mag and beyond.

While Transit marked a shift from sample-based production to virtual instrumentation, Highlight sees Skalpel at their most expansive and refined. Drawing on Miles Davis’ electric era, minimalism, and the legacy of Warp and Ninja Tune, the album balances deep jazz heritage with contemporary electronic textures.

A defining title in the band’s catalogue, Highlight remains both timeless and forward-looking - now available in a special purple vinyl edition.

»Alchemy« is the debut album from 22-year old singer-songwriter Tara Nome Doyle, following the singles »Heathens«, »Neon Woods« and »Mercury«. Doyle’s 2018 EP »Dandelion«, featuring her breakthrough-hit »Down with You«, has so far amassed nearly two million streams. Recently, two of her songs featured in Sophie Kluge’s feature film »Golden Twenties«. Doyle is a member of Kat Frankie’s choir on whose a capella EP she features.

»Alchemy« deals, in two songs each, with the four phases of development of the pre-modern natural philosophy, the alchemy. The album can be read psychologically or as a portrait of someone coming of age. Experience and reflection are closely entwined which is as beautiful as it’s threatening.

Doyle, whose middle name is pronounced just like »Naomi«, is from Berlin-Kreuzberg, her parents are from Ireland and Norway. She speaks (and sings) both languages without accent. Is it permissible to recognize the biographical background of these landscapes in her art? The stored heat and the fog from the Irish peat bogs, the magic of the the Norwegian forests?

The concept album was recorded in large parts with David Specht (bass player and producer of Isolation Berlin) and Doyle's newly founded band in Berlin. Specht remains reserved, keeping the band in check. It’s the interiors that we should hear – acoustically, but also thematically. The drums sound more like a knock on the window pane than the city noise outside the door, the guitar controls the harmony and not the power supply. The first instrument remains Doyle’s voice, which is always working and is looking for a way. Inward, outward. All songs were written by Doyle, for the arrangement for »Neon Woods« she worked with Max Rieger (Die Nerven, producer for e.g. Drangsal and Ilgen-Nur).

Mavericks of the musical landscape, Brooklyn’s finest genre-defying duo Dave + Sam release their anticipated debut album ‘No Shade’ on Classic Music Company this spring, a thirteen-track narration of the 21st century experience, told through the eyes of vocalist Dave Giles II and production maestro Sam O.B. With the aim to package love, empowerment and socio-political commentary into a collection of tracks that never compromise on groove or soul, this enchanting album never loses sight of its message as it journeys from deep Chicago house and otherworldly melodies to funk-laden jams and adventurous studio experimentation.

Hinged tightly by the soulful nuances of Moodymann, Mos Def and Gil Scott Heron, Dave’s captivating spoken word delivery is purposeful and considered, as Sam weaves rhythms and grooves so deep you can get lost in them – the two musical narratives working in perfect harmony. Impassioned cuts like ‘Facts’, ‘Worth It’ and ‘Sauce’ leverage hip-hop’s tradition of battle rap against white supremacist rhetoric, a message that remains ever more relevant in today’s political climate. Title track ‘No Shade’, ‘Day One (Oh Baby)’ and ‘Can’t Get Enough’ allow stories of love and loss to unfold to the listener, while the stripped-back grooves of ‘Round The Way’ and ‘You Da Shit Girl’ add another dimension to the album. Featuring a number of collaborators such as Chicago legend Mike Dunn, powerhouse vocalist Ramona Renea and fellow Brooklyn natives Cor.Ece and LATASHÁ, ‘No Shade’ is an evocative, powerful and joyful experience when played in its entirety.

Recorded in Brooklyn’s Bedford Stuyvesant, a neighbourhood bearing the scars of over-policing and encroaching gentrification, the vibrancy of the community and its unyielding history of creative expression shines through on the album’s entirety. As products of such environments, Dave + Sam’s music is resilient, revolutionary and organic in equal parts. An homage to their mutual reverence for early Chicago house and the golden era of underground parties in New York, ‘No Shade’ is a riveting body of work ready for you to lose yourself in.

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster 'Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm. 'Play Disco Specials' was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles. Other than this, the personnel of the record remains a mystery, but sometimes a bit of mystery is a good thing. Aside from the disco-jazz-funk of 'Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, 'Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

On his third and album, Rainbow Doll, the New Jersey house mystic Joey Anderson speaks to us. Of course, like everything Anderson does, the message is encoded. On tracks like "Beside Me" and "Cindy," his voice rings out in dream incantations-on the latter, he repeats a Mark Hollis-like mantra over a perfect, minimalist house loop while the former sounds like the late, great Ron Hardy taking the razor-and-tape to Ike Yard.

It's his third record for the Berlin-based label Avenue 66, and graciously illuminates the dream logic introduced on his debut for the imprint, the 2013 leftfield classic "Above The Cherry Moon." While Rainbow Doll satisfies those outre impulses, the album's core comprises what are perhaps Anderson's most indelible dance tracks to date, like "Bounce With It," a jacking anthem which sees him at mission control, sending widescreen synth lines soaring through the atmosphere.

With the aforementioned vocals punctuating five of the eight tracks, Rainbow Doll is Anderson's most personal work to date. It's his first album in four years, but also his shortest, most concise full-length. Even with a more direct approach, the elusive, dreamlike quality which has made his work so intriguing remains intact. He speaks of dreams throughout the record, even as his uncanny methodology comes into focus. More than ever before, we understand the materials Anderson uses to construct his Escher-like tracks. We hear his fingers on the keys, the sturdy east coast house beats he learned to dance to. The dreams have become lucid. As he puts it deep in the album, they "seem so real."

The Boogie Twins aka Ashley Beedle and Ray Mang have reworked and edited one of Paul 'Trouble' Anderson's biggest signature tracks.

A message from Ashley Beedle:
"My Electric Ballroom crew, that were later to become the infamous Shock Sound System, was myself, Stan Zepherin, Dean Zepherin, Paul Denton, Cecil Peters and Ricardo Da Force (R.I.P.)
We loved going to the Electric Ballroom to see the legendary Paul 'Trouble' Anderson who was killing it in there with Boogie, Electro, Hip Hop and Disco - he was such a huge musical influencer.
When he dropped 'Heaven and Earth' in the mid 80's, the joint went ballistic.

That tune ruled London and became not only a rare groove classic but remains a much loved staple of today's club scene - all because of Paul's exceptional ear for music.

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Leo Sayer’ is Leo Sayer’s 6th album, originally released in 1978, reaching #15 in UK Albums Chart and features the hits ‘I Can't Stop Loving You (Though I Try)’ and ‘Raining In My Heart’. This was the final album that Leo wholly recorded in Los Angeles, with legendary and in-demand producer Richard Perry and marked a departure from his early albums. Richard Perry brought in a variety of songwriters and collaborators to work on the projects with Leo; it was a venerable Who’s Who of the record industry. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."

Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder.

What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.

Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."

What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.